JKS Hiring Administrative Coordinator

Apply here!

FLSA Classification: Non-Exempt      

Hours per Week: 40

Pay Range: $15.50 – $16.00 per Hour

HR Review Date: March 24, 2015


Job Summary: The Summer Writing Program (SWP) Administrative Coordinator oversees SWP budgets, contracts, catalog, and marketing; manages student registration, enrollments, grading materials, and SWP assessment; and supervises SWP temporary employees. This is a full-time, year-round position, requiring flexible hours during the summer programming.

Job Duties: 

Registration and Assessment

  • Monitor SWP enrollments, class size, potential course cancelations, etc.
  • Review and verify course schedules and submit to the appropriate office; provide updates and accuracy checks to MyNaropa.
  • Support the scholarship process and ensure accuracy of forms and funds, including outreach to potential BA students.
  • Assist SWP faculty with assessment including data gathering, computations, documents, reports, etc.Marketing and Events
  • Assist with JKS and SWP marketing campaigns and act as liaison to the Department of University Relations.
  • Assist with program collateral (AWP resources, JKS postcard, etc.) and the catalog, including editing, producing, and distributing materials.
  • Update SWP Naropa and affiliate websites.
  • Assist with JKS conference and events as needed.Operations and General Administrative
  • Approve and track SWP staff timesheets.
  • Assist with SWP hiring, scheduling, and training in collaboration with the SWP director.
  • Respond to telephone calls and email inquiries from guest faculty, prospective students, and University offices, and/or direct to the appropriate person.
  • Receive walk-ins to SWP main office (students, faculty, guests, etc.) and assist as necessary.
  • Serve as the initial contact for existing and prospective students and direct them to the appropriate parties and respond to student inquiries.
  • Update and review SWP Timeline and SWP Master Schedule with attention to event times, dates, locations, etc.


Budget Management and General Administration

  • Submit, reconcile, and track the annual budget and gift account, as well as generate the annual finance report in consultation with the SWP director.
  • Track SWP credit card purchases, and reconcile monthly statements.
  • Provide the SWP director weekly or monthly budget updates as needed, reviewing CX, receipts, Adaptive Planning system, internal tracking sheets, etc.
  • Oversee services with vendors based on University policies and procedures, and process payments and other paperwork.
  • Track visiting faculty documents and submit to Academic Affairs (stipends, contracts, etc.).
  • Track and submit new-hire packets for newly hired instructors and staff and submit PANs to Academic Affairs. Also submit termination PANs for temporary employees at end of summer program.
  • Submit work order requests with IT, facilities, etc.
  • Serve as liaison for guest faculty, including guest faculty requests, travel, ground transportation, accommodations, book and equipment requests.
  • Additional responsibilities and duties as needed.

Minimum Qualifications:

  • A bachelor’s degree in a related field (writing and/or literature).
  • 3 years of administrative work experience.
  • 1-2 years of budgeting experience.
  • 1-2 years events planning experience with demonstrated knowledge of methods, practices, and procedures for program and event planning, coordination, and management.
  • Ability to take primary responsibility for a number of diverse projects and to complete them accurately and in a timely manner with limited supervision.
    • Ability to maintain a high level of professionalism in all circumstances.
  • Excellent communication skills (oral, written, listening).


  • Ability to work independently and as a supportive and fully contributing team member.
  • Excellent problem solving skills, meticulous attention to detail, and good organizational abilities.
  • Strong interpersonal skills and ability to work with students, faculty, and staff from diverse backgrounds.
  • Ability to understand and support current program requirements as well as university policies and procedures.
  • Ability to multitask and work efficiently in a busy environment.
  • Intermediate to advanced knowledge of Microsoft Excel, Word, Outlook, and WordPress.

Preferred Qualifications: 

  • 3 years of work experience in a university setting.
  • Familiarity with the Jack Kerouac School of Disembodied Poetics.
  • An appreciation for contemplative education and the mission of Naropa University.
  • 1 year experience with design programs: Adobe Creative Suite, or comparable software and platforms.
  • MA or MFA degree in a related field (writing and/or literature).

Applications: Application review continues until position is filled. Qualified candidates should include a letter of interest and résumé/CV.

Naropa University is actively engaged in creating an inclusive, diverse community and is proud to be an Equal Opportunity Employer. In keeping with our diversity initiatives, we encourage applications from persons of historically under-represented groups and those who support diversity.

Apply here!

Bhanu Kapil at &NOW

exercising_the_platysma_image_title_p1fcdBhanu Kapil will be presenting/teaching/performing at three events for &NOW: Blast Radius (March 25-28, 2015) in Los Angeles.  This is a conference of experimental writing and intermedia forms.  Jason Phrydas, a recent MFA grad, will also be offering a clay and writing workshop (on Friday at 12.45: Architextural Attunement: Writing as a Plastic Art.) Many Summer Writing Program faculty — past and future — are also presenting at the conference too.  It is amazing.  Perhaps The Jack Kerouac School of Disembodied Poetics can host it one year?  

Bhanu’s events are all on Thursday, March 26th:

  • 2.30 pm Divination as Praxis, with Emerson Whitney, Selah Saterstrom and Mady Schutzman.
  • 5.30 pm Between Language and Body: Incubating New Works – a performance/movement-based writing workshop with Laura Ann Samuelson.
  • 8 pm Mongrel Poetiks, a featured event: with Lara Glenum, Lucas de Lima, Eunsong Kim and Jennifer Tamayo.


MEAT HISTORY: a communal reading/performance in celebration of Bhanu Kapil’s Ban en Banlieue.

11063593_1065836296766498_6539201743093408461_oNote from the Butcher: Who are your meat ancestors? What is “organ speech”? How will you speak about your own particular meat history in a commons derived from the riot? What will you draw? What will be trampled on the doorstep, before you’ve even begun? “Radical modernity requites something of me.” Okay. What does it require? We are interested in questions of violence and community; questions that were only partially fulfilled or investigated two Falls ago. Is it possible to write aesthetically about violence, for example? This is a research event. We invite you to attend and thus accumulate. Your own notes. Your own different kind of paper.

This is Event 1 of a two part Ban launch. Event 1 is about turning a book shop [Innisfree Poetry Bookstore in Boulder, CO] into a butcher’s shop for the night. Event 2 will take place in April: a former bookstore turned butcher’s shop [The Boar and The Bull in Loveland, CO] — where Bhanu wrote for many years — has agreed to be turned into: a literary space — which is to say: book shop: in reverse: for MEAT OPERA: a choreography for BAN.

7pm, March 19th, 2015 @ Innsifree Poetry Bookstore

Review of Naropa’s 4×4 Reading, March 10, 2015

By Cait Turner

The final installation of the 2015 4×4 reading series brought together members of Colorado’s collegiate community of creative writers. Readers from Colorado State University, CU Boulder, University of Denver, and Naropa University performed their poetry and fiction at the Performing Arts Center on Naropa’s Arapahoe campus.

The evening’s first reader was Katie Naughton, an MFA student at Colorado State University. Naughton performed a series of unnamed, interrelated poems drawing upon environmental, political, pastoral, and erotic themes. Naughton’s tightly coiled language transformed domestic/pastoral images of boiling water, burning trash, and sprouting sunflowers into percussive anaphoras meant to situate the listener into the space between rural poverty and poetic intimacy. In one piece, Naughton compared the passage of time to a “small money restaurant”; in another, she asserted that “the disaster comes in sunflowers, in hunting rust.” The musicality of Naughton’s language did not distract from the power of her imagery. Her pieces described poems environmental and emotional spaces where landscapes and faces are “flat and made of lakes, making water where everyone knows there’s none.” Katie Naughton’s poetry deconstructed the pastoral myth and re-introduced the face of America’s rural enclaves back to itself, “warning ending what it may persist.”

The work of Brandi Homan, a doctoral student and adjunct faculty member at Denver University, also drew inspiration from familial enclaves of the rural Midwest. Homan’s short story, “Green Green Corn”, examined the “dangerous and dumb” teenage fascination with the “other side of town.” Homan’s use of second person narration allowed listeners to connect and identify with the voice of her adolescent narrator, who just began a summer job “de-flowering” female corn plants—a summer rite of passage in the American Midwest. The sexual awakening of the narrator coincides with her introduction to the world of physical labor; the end of the day finds her sprawled across her bed, sweating, repeating “Jesus. Jesus. Jesus” in a state of both physical exhaustion and sensual ecstasy. The subtext of “Green Green Corn” involves class and gender imbalances; the middle class narrator feels superior to the working class boys with whom she shares the fields, but her emergent femininity renders her simultaneously in awe of and in thrall to her handsome, college-age foreman. Homan’s narrative lovingly mocked her characters at times—they tease their hair and wear layers of makeup and foundation to perform back-breaking labor in sweltering summer heat—but ultimately, Homan presented a realistic and moving picture of a young woman’s coming of age.

Mac Goad, the third reader of the evening, performed a series of short poems exploring the relationship between music, witchcraft, romantic love, addiction, and the act of writing. Her first poem “One Part Harmony” described the “muscle memory” involved in practicing the guitar as an “act” similar to that of lovemaking. Alone, the speaker strikes the “clearest chords.” Goad’s second piece, “Amateur Spellcraft” re-imagines love and friendship as the magical consequences of a “teenage witchcraft come true”—the poems ends with a dedication to an unnamed other, conjured up through images and Goad’s uniquely rhythmic delivery. Her third and final piece of the evening re-views addiction as a practical craft, like musicianship or writing. Indeed, all of our human practices, from writing to lovemaking to songcraft and spellcasting can be seen as a sort of repetitive action. Humans, Goad implies through her poetry, are addicted to creation, and “recovery is death.”

The final reader of the evening was Ella Longpre, an MFA candidate at Naropa University.  Longpre’s poems are “hallways lit with memory”; language itself is simply “a dream collapsed into another dream.” Her poems kept returning to the “I in question” suggesting a sort of rupture and conflation between poetic objects, poetic subjects, poetic speakers, and poets themselves. “We all have apocryphal texts”, she claims, “I am an icon.” Longpre’s poetic language is gorgeous; her delivery was melodic without overt musicality, which leant her language a soporific edge wherein the listener eases in to her collage of images and memories as though into a warm bath of ether. Longpre’s poetry suggests that memory is a form of ruin—it is always already decaying. “The voice carries the weight of the body”, Longpre states, “through blue dusks and wet forests.”

The final 4×4 reading of 2015 at Naropa University  was a collage of different geographic and psychological landscapes, where common language can be found in the interstitial space between image and memory, self and other, speech and silence.


Cait Turner is a first year MFA candidate at the Jack Kerouac School of Disembodied Poetics at Naropa University.  Her research interests include jazz poetry, activist writing, and critical pedagogy.  Cait’s poetry has been published in the online ‘zine “The Potomac” and the print journal “Lungfull!” When not working or studying, Cait enjoys playing music, especially drums and piano.

Ecstatic Spring: A Creative Writing Workshop Series

writesA Four-Week Course Meeting Saturdays from 11-2:15 pm (Apr. 25th - May 16th)

Ecstatic Spring is the latest workshop in the seasonally-inspired (W)rites of Passage Creative Writing Series: workshop leaders, Sarah Elizabeth Schantz, MFA, and Julieanne Combest, MFA, serve as writing midwives by providing the space to write in community. The instructors provide literary examples for participants to study and assign unique prompts to inspire both the novice and seasoned writer; calling upon themes of springtime and ecstasy, we will use collage, mapping, divination, Dada and Surrealist games, treasure hunts, meditation practices, and ritual to enter the text that is our/your story. Both poets and prose writers are welcome. This is a safe space.

Week 1: Coming-of-Age (4-25-2015)

Week 2: Road Trip (5-2-2015)

Week 3: The Epistolary Text (5-9-2015)

 Week 4: Ecstasy/Ecstatic States (5-16-2015)

$200 for the entire four-week course (includes a 15 page critique from each instructor) or $60.00 per individual workshop. Register now to guarantee a seat. Limited scholarships/sliding scale available. Please visit the website for more details and/or to register: www.writesofpassage.moonfruit.com or email: writesofpassage13@gmail.com or call: 720-231-0893.

Workshops are held in East Boulder and include complimentary tea, coffee, and light snacks.


Infiltrate What Exists, Innovate What Doesn’t: The Transborder Immigrant Tool, Queer Intermedia, Technoshamanism & Rogue Counting.

Bhanu Kapil (JKS core faculty) will be presenting on the following panels at the THINKING ITS PRESENCE: THE RACIAL IMAGINARY Conference:

Infiltrate What Exists, Innovate What Doesn’t: The Transborder Immigrant Tool, Queer Intermedia, Technoshamanism & Rogue Counting  March 12, 11 a.m.

Fracturations: Meditations on the Politics and Poetics of Intersectionality March 13, 11 a.m.

Racial Imaginary Reading  March 13, 3.45 p.m.

On the Poetics of Anguish, Gender, and Variant Constructions  March 14, 11 a.m.

Western Writers  March 14, 3.45 p.m







Courting Risk: a reading series curated by Khadijah Queen

titlebarPlease join Khadijah Queen,  JKS MFA candidate Amy Lukau, Bill Wetzel, Kristen Nelson, Shelly Taylor, TC Tolbert and Susan Southard for an evening of compelling poetry, fiction and nonfiction with material spanning multiple continents and time periods. The writers gathered here reflect the gamut of literary, artistic, personal and professional experience. Working in multiple modes and art forms – from drama and music to visual art, film and new media – they explore the limits of their talents with edge, grace, intelligence and a keen sense of what matters to humanity.

Reader Bios:

Amy M. Lukau is the daughter of immigrants from Angola. She graduated from Arizona State University with a BS in molecular biosciences and biotechnology and a BA in religious studies. She was runner up for the Brunel University African Poetry Prize founded by the African Poetry Book Fund and Commonwealth Writers in 2014.  Her chapbook is apart of the Eight New-Generation African Poets: A Chapbook Box Set coming out in April 2015.  Lukau is the executive director of Girls Education International (girlsed.org), a nonprofit organization based in Colorado that supports educational opportunities for underserved females in remote and underdeveloped regions of the world. Her work has appeared in Fanzine and is forthcoming in other journals. She currently resides in Boulder, Colorado.

Kristen Elissa Nelson is the author of Write, Dad (Unthinkable Creatures Chapbook Press, 2012). She has published creative work in The Feminist Wire, The Volta, Denver Quarterly, Drunken Boat, Tarpaulin Sky Journal, Dinosaur Bees, Quarter After Eight, Spiral Orb, Glitter Tongue, The Dictionary Project, Trickhouse, In Posse Review, Cranky, and Everyday Genius, among others. She is a founder and the Executive Director of Casa Libre en la Solana, a non-profit writing center in Tucson, Arizona. www.kristenenelson.com

Susan Southard holds an MFA in Creative Writing from Antioch University/Los Angeles. She was a Norman Mailer fellow at the Norman Mailer Center in Provincetown, MA and is the recipient of a grant from the Fund for Investigative Journalism. Nagasaki was the finalist for the 2012 J. Anthony Lukas Prize for Excellence in Creative Nonfiction, administered by the Columbia School of Journalism and Harvard University’s Nieman Foundation for Journalism. Southard is the founder and artistic director of Essential Theatre, a professional ensemble known for its innovative work in the field of theatre and social change. Now in 25th season serving marginalized communities, Essential Theatre has presented interactive theatre performances and workshops for over 200,000 people across Arizona and the United States. Susan has taught at Arizona State University’s Piper Center for Creative Writing and directed a three-year creative writing program at a federal prison for women outside Phoenix.

Shelly Taylor is the author of two full-length collections: Lions, Remonstrance (Coconut Books Braddock Book Prize: 2014) & Black-Eyed Heifer (Tarpaulin Sky: 2010), as well as three chapbooks: Peaches the yes-girl (Portable Press at YoYo Labs: 2008), Land Wide to Get a Hold Lost In (Dancing Girl: 2009), Dirt City Lions (Horse Less: 2012). Hick Poetics, an anthology of contemporary American rural poetry co-edited with Abraham Smith, will be released from Lost Roads Press in early 2015. Born in deep south Georgia, Taylor is an instructor at the University of Arizona. She calls Tucson & horseback home.

TC Tolbert often identifies as a trans and genderqueer feminist, collaborator, dancer, and poet but really s/he’s just a human in love with humans doing human things. The author of Gephyromania (Ahsahta Press 2014), Conditions/Conditioning (a collaborative chapbook with Jen Hofer, New Lights Press 2014) I: Not He: Not I (Pity Milk chapbook 2014), Troubling the Line: Trans and Genderqueer Poetry and Poetics (co-editor with Trace Peterson, Nightboat Books 2013), spirare (Belladonna* chaplet 2012), and territories of folding (Kore Press chapbook 2011), his favorite thing in the world is Compositional Improvisation (which is another way of saying being alive). www.tctolbert.com

Bill Wetzel‘s work has appeared in or is forthcoming from the American Indian Culture and Research Journal, Yellow Medicine Review, Red Ink Magazine, Studies In Indian Literatures (SAIL), Hinchas de Poesia, Literary Orphans, the “Best Of Literary Orphans: The Greater Secrets, and Off The Path: An Anthology of 21st Century American Indian Writers Vol.2.

Series founder and curator Khadijah Queen is the author of Conduit (Black Goat/Akashic Books 2008), Black Peculiar (Noemi Press 2011), and Fearful Beloved, due out from Argos Books in fall 2015. Her chapbooks include I’m So Fine: A List of Famous Men & What I Had On (Sibling Rivalry 2013) and Exercises in Painting (Bloof Books 2016). Individual poems and prose appear or are forthcoming in Fence, jubilat, Best American Nonrequired Reading, Memoir, Cutthroat, Tupelo Quarterly and widely elsewhere. She is the winner of the 2014 Leslie Scalapino Award for Innovative Women Performance Writers for her verse play Non-Sequitur, with full production to be staged by NYC theater company The Relationship in late 2015. Visit her website: khadijahqueen.com.