What / Where Reading Series: Janice Lee, September 12 & Local Guest, TBA / Student Reader MC Jeffrey Pethybridge
Janice Lee is the author of KEROTAKIS (Dog Horn Press, 2010), Daughter (Jaded Ibis, 2011), Damnation (Penny-Ante Editions, 2013), Reconsolidation (Penny-Ante Editions, 2015), and The Sky Isn’t Blue (Civil Coping Mechanisms, 2016). She writes about the filmic long take, slowness, interspecies communication, the apocalypse, and asks the question, how do we hold space open while maintaining intimacy? She is Editor of the imprint #RECURRENT for Civil Coping Mechanisms, Founder & Executive Editor of Entropy, Assistant Editor at Fanzine, and recently helped launch (w/ Maggie Nelson) SUBLEVEL, the new online literary magazine based in the CalArts MFA Writing Program. After living for over 30 years in California, she recently moved from Los Angeles to Portland, Oregon where she is an Assistant Professor of Fiction at Portland State University.
What / Where Reading Series: Erik Anderson, September 26 & Teow Lim Goh, Student Reader MC Jeffrey Pethybridge
Erik Anderson teaches creative writing at Franklin and Marshall College, where he directs the annual Emerging Writers Festival (http://www.fandm.edu/english/emerging-writers-festival). He is the author of The Poetics of Trespass (Otis Books/Seismicity Editions, 2010), as well as two forthcoming books: Estranger (Rescue Press, 2016) and Flutter Point (Zone 3 Press, 2017).
What / Where Reading Series: Dueriel E. Harris, October 10 & Ella Longpre & Student Reader MC Caroline Swanson
Duriel E. Harris is co-founder of Call & Response—a dynamic project involving Black women & performance—and the avant-garde poetry/performance trio the Black Took Collective (BTC), Duriel E. Harris is author of three poetry collections including the 2015 Nightboat Poetry Prize winning volume No Dictionary of a Living Tongue (Spring 2017).
A MacDowell and Millay Colony fellow, Harris has received grants from the Illinois Arts Council, the Cave Canem Foundation, and the Rockefeller Brothers Fund.
Recent appearances include performances at the Chicago Jazz Festival (with Douglas Ewart & Inventions creative music ensemble), The Foundry Theater (Antioch College), Links Hall (Chicago), Dixon Place (NYC), and the Wild Project (NYC).
Current undertakings include the conceptual work “Blood Labyrinth” and the solo performance project :Thingification:. Selections from Thingification have been featured at the Fresh Fruit Festival, the Art Institute of Chicago, the University of Ghana-Legon, Kwara State University (Nigeria), the Corner Playhouse (U Missouri), and Babylon Cinema (Berlin).
Harris is Editor of Obsidian: Literature & Arts in the African Diaspora, and is an associate professor of English in the Graduate Creative Writing Program at Illinois State University.
Low Res Lecture: Laird Hunt, October 3 & MFA Graduate Students, MC TBA
Laird Hunt is the award-winning author of a book of short stories, mock parables and histories, The Paris Stories (2000), originally from Smokeproof Press, though now re-released by Marick Press, and five novels from Coffee House Press: The Impossibly (2001), Indiana, Indiana (2003), The Exquisite (2006) Ray of the Star (2009) and Kind One (2012), which was a finalist for both the 2013 Pen/Faulkner award and the 2013 Pen USA Literary Award in Fiction and the winner of a 2013 Anisfield-Wolf Book Award for Fiction. Neverhome (2015), is published in the United States by Little, Brown and by Chatto in the UK. His translation of Oliver Rohe’s Vacant Lot was published by Counterpath Press, who also published his co-translation with Anne-Laure Tissut of Arno Bertina’s Brando, My Solitude. He is published in France by Actes Sud, and has novels either published or forthcoming in Japan, Italy, Spain, Germany and Turkey. His writings, reviews and translations have appeared in the United States and abroad in, among other places, the New York Times, the Wall Street Journal, McSweeney’s, Ploughshares, Bomb, Bookforum, Grand Street, The Believer, Fence, Conjunctions, Brick, Mentor, Inculte, and Zoum Zoum. He was on faculty in the University of Denver’s Creative Writing Program from 2004-2017, where he edited the Denver Quarterly. He has had residencies at the MacDowell Colony and the Camargo Foundation in Cassis, France, Marfa (Lannan Foundation).
What / Where Reading Series: Jennifer K. Dick, October 24 & Chris Rosales, Student Reader MC Caroline Swanson
Author of CIRCUITS (Corrupt Press, 2013), FLUORESCENCE (Univ of GA Press, 2004), ENCLOSURES (BlazeVox eBook, 2007) and 5 chap/artbooks: NO TITLE (Estepa Editions, Nov 2015), CONVERSION (Estepa, Dec 2013 with art by Kate Van Houten), Betwixt (Corrupt, 2012), Tracery (Dusie Kollectiv, 2012) and RETINA/Rétine(Estepa Editions, France, w/art by Kate Van Houten, tr. R. Bouthonnier). She teaches American Literature and Civ at Université of Haute Alsace in Mulhouse, France and am part of the Ille research lab. Critical books include Traduire, transmettre ou trahir (co-dirigé with Stephanie Schwerter, MSH Paris, 2013) and Transmissibility and Cultural Transfer (Ibidem-Verlag, 2012). She co-founded and organizes Ivy Writers Paris bilingual reading series and co-organize Ecrire l’Art mini-residency for French authors at La Kunsthalle-Mulhouse. A poetry editor for VERSAL out of Amsterdam, She writes regular poetics articles for Tears in the Fence and reviews for Jacket 2 and Drunken Boat.
Allen Ginsberg Fellow: Fred Moten, February 5 MC TBA
He is author of In the Break: The Aesthetics of the Black Radical Tradition (University of Minnesota Press, 2003); Hughson’s Tavern (Leon Works, 2009); B. Jenkins (Duke University Press, 2010); The Feel Trio (Letter Machine Editions, 2014), which was a poetry finalist for the National Book Award and Los Angeles Times Book Prize and winner of the California Book Award for poetry; The Little Edges (Wesleyan University Press, 2015), which was a finalist for the Kingsley Tufts Poetry Award and The Service Porch (Letter Machine Editions, 2016), A Poetics of the Undercommons (Sputnik and Fizzle, 2016) and a three volume collection of essays whose general title is consent not to be a single being (Duke University Press, 2017, 2018). Moten is also co-author, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study (Minor Compositions/Autonomedia, 2013) and, with Wu Tsang, of Who touched me? (If I Can’t Dance, I Don’t Want to be Part of Your Revolution, 2016). Moten has served on the editorial boards of Callaloo, Discourse, American Quarterly and Social Text; as a member of the Critical Theory Institute at the University of California, Irvine; on the board of directors of the Center for Lesbian and Gay Studies, City University of New York; and on the advisory board of Issues in Critical Investigation, Vanderbilt University. Moten has been the Whitney J. Oates Fellow in the Humanities Council and the Center for African American Studies at Princeton University, the Sherry Memorial Visiting Poet at the University of Chicago and a Visiting Artist at the Milton Avery Graduate School of the Arts, Bard College. In 2016 he was awarded a Guggenheim Fellowship and the Stephen E. Henderson Award for Outstanding Achievement in Poetry by the African American Literature and Culture Society.
Low Res Lecture: Mei-mei Bersenbrugge, February 23 & MFA Graduate Students, MC TBA
Mei-mei Berssenbrugge was born in Beijing and grew up in Massachusetts. She is the author of many volumes of poetry, including, most recently, I Love Artists: New and Selected Poems (University of California Press, 2006), Nest (2003), Four Year Old Girl (1998), Empathy (1989), and The Heat Bird (1983). She has frequently worked with visual artists on collaborative projects, including, for example, her books Concordance (2006) and Endocrinology (1997), both collaborations with sculptor Kiki Smith, and Sphericity (1993) and Hiddenness (1987), collaborations with Richard Tuttle. Of their collaborative book Hiddenness, she has said, “One of his subjects was the relationship between the visual and the verbal, two different mental planes that a collaboration might align. Our book, Hiddenness, unified visual and verbal planes by breaking out of the normal page margins. There was a unification like water spreading out in space” (Bomb Magazine, Summer 2006). Collaboration, Berssenbrugge says, is “a wonderful way to open to someone else’s sensibility, to use that openness like ocean or oxygen. I’ve used experience with the other arts to discover ways to make formal changes in my own poetry” (Jacket 27, April 2005).
Spring Symposium ‘Embodied Poetics’: TBA
Leslie Scalapino Lecture in Innovative Poetics: Cecelia Vicuña, March 19
Cecilia Vicuña is a poet, artist, filmmaker and activist. Her work addresses pressing concerns of the modern world, including ecological destruction, human rights, and cultural homogenization. Born and raised in Santiago de Chile, she has been in exile since the early 1970s, after the military coup against elected president Salvador Allende. Her multi-dimensional works begin as a poem, an image that morphs into a film, a song, a sculpture, or a collective performance. A partial list of museums that have exhibited her work include: The Museu de Arte Moderna do Rio de Janeiro, Brazil; The Museo Nacional de Bellas Artes de Santiago; The Institute of Contemporary Arts (ICA) London; Art in General in NYC; The Whitechapel Art Gallery in London; The Berkeley Art Museum; The Whitney Museum of American Art; and MoMA, The Museum of Modern Art in New York.
Vicuña has published twenty-two art and poetry books, including Kuntur Ko (Tornsound, 2015), Spit Temple: The Selected Performances of Cecilia Vicuña (Ugly Duckling Presse, 2012), Instan (Kelsey Street Press, 2001) and Cloud Net (Art in General, 2000). Her Selected Poems is forthcoming from Kelsey Street Press in 2017. In 2009, she co-edited The Oxford Book of Latin American Poetry: 500 years of Latin American Poetry. She edited ÜL: Four Mapuche Poets in 1997. She was appointed the Messenger Lecturer 2015 at Cornell University, an honor bestowed on authors who contribute to the “evolution of civilization for the special purpose of raising the moral standard of our political, business, and social life.” She divides her time between Chile and New York.