Jennifer K. Dick
Université de Haute-Alsace (UHA), Institut d'Anglais, Faculty Member
- Text and Image, Visual Poetics, Contemporary Art, Littérature Française, Littérature Générale Et Comparée, Creative Writing, Susan Howe, and 12 moreInhabitable Theories, Stéphane Mallarmé, Marcel Broodthaers, Postmodern Literature, Poetic Autobiography, Experimental Literature, Contemporary Poetry, Jhumpa Lahiri, The Monstrous and Otherness, Text And Image, Literature and Visual Arts, and Autobiography of Rededit
- Jennifer K Dick is Director of the English Department (from Jan 2021) & Maître de Conférences (since 2010) at the Uni... moreJennifer K Dick is Director of the English Department (from Jan 2021) & Maître de Conférences (since 2010) at the Université de Haute Alsace where she teaches American Literature, Creative Writing & Civilization & is a member of the ILLE research lab. From Paris III: La Sorbonne Nouvelle she holds a DEA (on M Roche, L Jarnot, S Howe & CRoyet- Journaud) & PhD (on Mallarmé & Apollinaire’s influence on Myung Mi Kim, Susan Howe & Anne-Marie Albiach’s writing).
Jennifer K Dick’s academic research explores the overlapping fields of poetry & visual poetics. She is fascinated by the liminal spaces between language use in the visual arts & typography & imported visual work implanted on the page in contemporary American & European Literature (as seen in Susan Howe, Anne-Marie Albaich, Jacques Sivan or Anne Carson’s books). This focus on visuality has also lead to recent explorations on multilingualism as visual & textual space in the identity poetics of American authors like Craig Santos Perez, Theresa Hak Kyung Cha or Myung Mi Kim. Publications on these topics have appeared in La poésie motléculaire de Jacques Sivan (presses du reel, 2017), American Multiculturalism in Context (Cambridge, 2017), Point, Dot, Period…The Dynamics of Punctuation in Text & Image (Cambridge, 2016), Anne Carson: Ecstatic Lyre (University of Michigan Press,2015), Trans (Paris III), Poétiques scientifiques dans les revues européennes de la modernité (1900-1940) (Classiques Garnier, 2013) & in the volume L’Ecriture Emprisonnée (Harmattan, 2007). She conceived of & co-organized the international conference Lex-ICON : treating text as image & image as text in June 2012 (http://lex-icon21.blogspot.fr/). A forthcoming article from the Nov 2019 Université de Lyon II conference "Le Depaysment" on Craig Santos Perez is under peer review. Presenting at "La poésie hors du livre" conference (Paris, October 2013), Jennifer extended her focus out of the book space to examine poetry on billboards & walls.
Wider research interests include the varied practices of postmodern poetic autobiographies (primarily those using visual & collage techniques in conjunction with more standard written forms of poetry) & cyborg poetry & poetics (Bhanu Kapil, Jacques Sivan). The interest in autobiography & reality vs fiction stems as much from her own creative as from her critical work. A first talk on this topic was presented at the 2013 SAES conference in Dijon, France ("Self-Naming in Postmodern Poetic Autobiography") though the roots of this work can be seen in her explorations of Susan Howe's writing (see: "Invisible Collisions: Considering Susan Howe’s Reform of the Poetic, Critical & Autobiographical Essay," online on Seventeen Seconds: A Journal of Poetry & Poetics, Ottawa, Canada, issue 7, 2013, pp 7-24).
Tangential to her literary study, has been her interest in translation practice & theory. She co-organized three conferences on Poetry in Expanded Translation in the UK & France alongside Zoe Skoulding & Jeff Hilson (Jan 2017-2019), & has participated in conferences on alternative forms of translation & on self-translation. She co-edited with Stephanie Schwerter 2 books on translation in the social sciences: Transmissibility & Cultural Transfer: Dimensions of Translation in the Humanities (Ibidem Verlag, Stuttgart, 2012) & Traduire, transmettre ou trahir: Réflexions sur la traduction en sciences humaines (éditions de la Maison des sciences de l'homme, Paris, 2013).
Additionally, Jennifer co-organizes Ivy Writers Paris (since Jan 2005) &, since 2010, the residencies Ecrire l'Art with the Directrice of La Kunsthalle Mulhouse Centre d'Art Contemporain. Their book assembling 10 years of texts from this project, accompanied by their avant-propos, was published in Sept 2019: Ecrire l'art: DOSSIER DES OUVRAGES EXECUTES (Kunsthalle éditions, available through les presses du réel, France).
Jennifer is a published author of poetry & prose (most recently Lilith: A Novel in Fragments, Corrupt Books, 2019, & That Which I Touch Has No Name, Eyewear, London, forthcoming 2021). She is also a translator--including poems by Vannina Maestri (forthcoming 2021), Véronique Arnaud (gallery catalogues, 2018), Jean-Michel Espitallier (poems in READ, 2019), Yves Peyré’s chapter for book Takesada Matsutani (Centre Pompiou/Hauser & Wirth, 2019), poems by Michaël Batalla (for book Concrete LTD, 2014, & in PLU n°3 2015) & poems by Jérôme Mauche & others.edit
Au gré de leurs déambulations dans New York, les photographes Patricia Marais et Cyrille Derouineau ont posé un regard double sur différents quartiers de la ville au quotidien, chacun équipé d’un camera toy Holga 6 x 6 le premier chargé... more
Au gré de leurs déambulations dans New York, les photographes Patricia Marais et Cyrille Derouineau ont posé un regard double sur différents quartiers de la ville au quotidien, chacun équipé d’un camera toy Holga 6 x 6 le premier chargé en noir et blanc le second en couleur. Ces images sont préfacés par Michel Poivert et accompagnées par des poèmes d'Albane Gellé en traduction par Jennifer K Dick.
Research Interests:
Vannina Maestri était notre deuxième résidente pour ce deuxième volet des résidences d'écrivains co-organisées par la Directrice de la Kunsthalle Centre d'Art Contemporain Mulhouse SANDRINE WYMANN et l'auteur, critique et traductrice... more
Vannina Maestri était notre deuxième résidente pour ce deuxième volet des résidences d'écrivains co-organisées par la Directrice de la Kunsthalle Centre d'Art Contemporain Mulhouse SANDRINE WYMANN et l'auteur, critique et traductrice JENNIFER K DICK, "Écrire l'Art II – 2010-2021 – Une suite d'images et d'effacements". L'écrivain Vannina Maestri était auteure associée à la saison d'exposition 2010/2021 de La Kunsthalle Mulhouse. Elle s'est immergée dans l'univers de quatre expositions, a composé librement autour des œuvres et des idées qu'elle y a perçues. Le livre qui est le résultat de cette résidence est paru en mars 2023 et est disponible aux presses du réel. Voici ici la préface en forme de dialogue entre S Wymann et JK Dick. Ce dialogue traverse des livres de la collection en forme de préface-entretien ouvert, en commençant par le volume de Laura Vazquez et en continuant ici avec l'avant-propos du volume par V Maestri. Cela sera suivi par un livre de Nicolas Tardy, à paraître fin 2023. Ci-joint aussi quelques extraits d'image de la courverture du livre et de l'intérieur du livre de V Maestri.
Research Interests:
Laura Vazquez était notre première résidente pour le deuxième volet des résidences d'écrivains co-organiseé par la Directrice de la Kunsthalle Centre d'Art Contemporain Mulhouse SANDRINE WYMANN et l'auteur, critique et traductrice... more
Laura Vazquez était notre première résidente pour le deuxième volet des résidences d'écrivains co-organiseé par la Directrice de la Kunsthalle Centre d'Art Contemporain Mulhouse SANDRINE WYMANN et l'auteur, critique et traductrice JENNIFER K DICK, "Écrire l'Art II – 2019-2020 – Quelque chose de surnaturel". La poétesse et romancière Laura Vazquez est auteure associée à la saison d'exposition 2019/2020 de La Kunsthalle Mulhouse. Elle s'est immergée dans l'univers de quatre expositions, a composé librement autour des œuvres et des idées qu'elle y a perçues. Le livre qui est le résultat de cette résidence est paru en 2023 et est disponible aux presses du réel. Voici ici la préface en forme de dialogue entre S Wymann et JK Dick. Ce dialogue traverse les livres de la collection en forme de préface-entretien ouvert. Ci-joint aussi quelques extraits d'image de la courverture du livre de L Vazquez.
Research Interests:
Les textes réunis dans ce livre tournent autour des réflexions sur la traduction touchant entre autres à la sociologie, à l'histoire, à la traductologie, la linguistique et la musique. En tant que chercheurs, enseignants et/ou... more
Les textes réunis dans ce livre tournent autour des réflexions sur la traduction touchant entre autres à la sociologie, à l'histoire, à la traductologie, la linguistique et la musique. En tant que chercheurs, enseignants et/ou traducteurs, les auteurs se trouvent régulièrement confrontés aux problèmes posés par la traduction. Ces expériences personnelles ont donné lieu à des raisonnements et des argumentations multiples.
Support: Livre broché
Nb de pages: 240 p.
ISBN-10 2-7351-1530-5
ISBN-13 978-2-7351-1530-3
GTIN13 (EAN13) 9782735115303
Support: Livre broché
Nb de pages: 240 p.
ISBN-10 2-7351-1530-5
ISBN-13 978-2-7351-1530-3
GTIN13 (EAN13) 9782735115303
Research Interests: Philosophy Of Language, Translation Studies, Translation and Ideology, Translation theory, Translation and literature, and 2 morePhenomenology, Hermeneutics, contemporary continental philosophy, axiology (theories and applied research on values), philosophical and cultural anthropology, diversity managment, gender studies, intercultural communication, and translations studies and Humanities and Social Sciences
Edited by Stephanie Schwerter and Jennifer K. Dick, Transmissibility and Cultural Transfer: Dimensions of Translation in the Humanities brings together monumental voices in the social sciences—such as Jean-René Ladmiral from Paris and... more
Edited by Stephanie Schwerter and Jennifer K. Dick, Transmissibility and Cultural Transfer: Dimensions of Translation in the Humanities brings together monumental voices in the social sciences—such as Jean-René Ladmiral from Paris and Peter Caws from Washington DC—to begin to address the Humanities’ specific issues with and debt to translation. Calling for a re-examination of how translations are read, critiqued, and taught in Philosophy, History, Political Science and Sociology departments, this book provides tools for reflection, bases for reconsideration of given translations, and historical observations on how thought has been shaped across national borders. The volume ends with four case studies—examples from auto-translation in postcolonial literature, cultural issues of translation in Sino-language cinema, negotiating meaning between linguistically and culturally different audiences in the United States and Lebanon, to verbal-visual questions of translation in marketing to German and French clients.
All in all, this book is a comprehensive, compact survey of the cultural and linguistic translation and transmission issues in the social sciences today. Transmissibility and Cultural Transfer: Dimensions of Translation in the Humanities is illuminating and informative. A great tool for study or debate.
200 Seiten, Paperback. 2012
ISBN 978-3-8382-0402-4
All in all, this book is a comprehensive, compact survey of the cultural and linguistic translation and transmission issues in the social sciences today. Transmissibility and Cultural Transfer: Dimensions of Translation in the Humanities is illuminating and informative. A great tool for study or debate.
200 Seiten, Paperback. 2012
ISBN 978-3-8382-0402-4
Research Interests:
That Which I Touch Has No Name is dialogic, an attempt to unearth the equilibrium between the blank page and the self in urban and rural places. This multilingual, polyphonic book is an inking, a verbal construction, gnawing away at its... more
That Which I Touch Has No Name is dialogic, an attempt to unearth the equilibrium between the blank page and the self in urban and rural places. This multilingual, polyphonic book is an inking, a verbal construction, gnawing away at its own predecessors, at the way we read, and at language itself. It asks: “What holds up, contains, structures, leaks out of our pages, our selves?” The singularity of plural experience, and the plurality of singular experience, infuse and are infused by these dazzling, shape-shifting pages. ISBN 13: 9781913606916
Research Interests: Multilingualism, Poetry, Contemporary Poetry, Multilingual Writers, Contemporary American Poetry, and 3 morePoésie, Literary Multilingualism, and Multilingual Studies, Identity Studies, Border identities, hybridity, multilingualism, poetry, bilingual poetry, cultural studies, postcolonial studies, globalization studies, third culture kids
"Memory as the revel of physical bonds. Memory as a space broken into by time. Memory as the morning dew of places. Memory as the electrical map of traces. In Jennifer K. Dick’s Circuits, memory inks the pathways of reading into—as in... more
"Memory as the revel of physical bonds. Memory as a space broken into by time. Memory as the morning dew of places. Memory as the electrical map of traces. In Jennifer K. Dick’s Circuits, memory inks the pathways of reading into—as in rereading ourselves, as in remembering our bodies, as in rewriting the earthbound motherboard. A procedural tour de force—both an inhabitation and absorption of neurologist George Johnson’s seminal In the Palaces of Memory—Dick’s Circuits seeks the physical pulse that links information to duration. Turkish spices, clatter of China, there’s a story to be told about the mapping of the brain, meaning Lynch, Cooper, Johnson, meaning love, Paris, Northampton, meaning enzymes in mutiny, chemicals with Kinase C. Language comes to rescue the mouth from obscurity: “A particle and its physics explains why candles were the roads and parks emptied, blurring up the slick-with-guilt.” Turns out nothing is obscure and everything’s connected; theory is alive in the substance of the wiring, and Jennifer K. Dick is writing the code." Matthew Cooperman
Research Interests:
Description: In Fluorescence, very real places—Paris, Massachusetts, Colorado, Iowa, Morocco—mix into the imagined, into Breughelian villages where there’s “a persimmon in the corner knitting.” These places are inhabited by varied but... more
Description: In Fluorescence, very real places—Paris, Massachusetts, Colorado, Iowa, Morocco—mix into the imagined, into Breughelian villages where there’s “a persimmon in the corner knitting.” These places are inhabited by varied but always very real bodies, stretching outward from their own edges and encountering, or engendering, a certain luminescence in the process. What happens when we exceed ourselves? When fragments of dream are lifted to the surface and through to something beyond? Clues, keys, indications—all that once seemed certain slips off into code. These poems use language to crack it.
More Blurb extracts:
"The fugitive blur of selfhood—and the desire to be 'held' captive within identity—is the human problem that governs her work throughout. Reading the book is like watching film footage of an explosion at a railway station in reverse; we begin with language in diaspora—words scattered across the page, across consciousness, across the political map—and we arrive, curiously, at a reconstituted world of forms. It is the literary progression from trauma toward understanding; and readers, in the end, will be left with the timely and ethical understanding that words are 'abbreviations for what is in their hands.'"
—Srikanth Reddy, author of Facts for Visitors: Poems
"All of this exploratory and inventive work ultimately becomes heartfelt music for the reader. . . . This is great stuff."
—Stride Magazine
"Fluoresence is moving. Both emotionally engaging and in motion to match the realities of our moment, Jennifer Dick's poems are accountable to the truths of a violent kaleidoscope world."
—Laura Mullen, author of Murmur
"The project underlying this collection is precision, and Jennifer Dick carries it out beautifully, always keeping her language as sharp and explorative as her questioning. A strong, beautiful book throughout."
—Cole Swensen, author of Goest
More Blurb extracts:
"The fugitive blur of selfhood—and the desire to be 'held' captive within identity—is the human problem that governs her work throughout. Reading the book is like watching film footage of an explosion at a railway station in reverse; we begin with language in diaspora—words scattered across the page, across consciousness, across the political map—and we arrive, curiously, at a reconstituted world of forms. It is the literary progression from trauma toward understanding; and readers, in the end, will be left with the timely and ethical understanding that words are 'abbreviations for what is in their hands.'"
—Srikanth Reddy, author of Facts for Visitors: Poems
"All of this exploratory and inventive work ultimately becomes heartfelt music for the reader. . . . This is great stuff."
—Stride Magazine
"Fluoresence is moving. Both emotionally engaging and in motion to match the realities of our moment, Jennifer Dick's poems are accountable to the truths of a violent kaleidoscope world."
—Laura Mullen, author of Murmur
"The project underlying this collection is precision, and Jennifer Dick carries it out beautifully, always keeping her language as sharp and explorative as her questioning. A strong, beautiful book throughout."
—Cole Swensen, author of Goest
Research Interests:
Research Interests:
Research Interests:
‘Betwixt’ penetrates deeply beneath and betwixt the narrative of Orpheus and Eurydice. These intermediate and indeterminate spin-offs from the motif are set in a stuttering, probing movement that is ever present in an ongoing gaze that is... more
‘Betwixt’ penetrates deeply beneath and betwixt the narrative of Orpheus and Eurydice. These intermediate and indeterminate spin-offs from the motif are set in a stuttering, probing movement that is ever present in an ongoing gaze that is both backward and forward-looking. The transformative registers and play that Dick draws upon incites the reader through linguistic and sonic verve to question the framework and creases of male and female identity and to see the fragility of pastoral stability and the proximity of loss. Her voice is unerring and unmasking. I love it.
David Caddy, editor of Tears in the Fence
“In the ec-, ec- ectoplasm of the echo,” Jennifer K Dick’s new concerto sings vibrato, rocking us boldly into shadowscape of the serpentine underworld of starboard saints the order of Orpheus and Eurydice, those Hansels and Gretels. Lushly and lavishly into the underworld we descend to look and to never look back, to forage forward and toward her lyrical horizon, sinking cock-eared and then tipping into her dreamscapes, begging, “make it double,” please.
Sandy Florian, author of The Tree of No
In the sinuous descents of Jennifer K Dick’s Betwixt, we are among the debris of doxa not left to lie around an ailing modernist Thames or Rhime, but rather bound up again in the fascicle of a deeper myth-going gauntlet. Eurydice is the by-proxy birth of the lyric, of both its sad and smiling aspects (the marriage ceremony and the broken quest), two divided faces which both promise never to look back. Sex and scalpel, fusion and fissuring, no identity is left unknit in this astonishing revival. So we too may go deeper, into the passages of our choosing: “just follow the tracks in the dark, steady, steadying.”
Nicholas Manning, author of Novaless
In Jennifer K Dick’s wonderful rewinding of “loosely wound” myth, Orpheus and Eurydice are strung out on contemporary anxieties and pulled through the compelling lines of a tensely rhythmic language, an element at once familiar and strange. Description is unsteady, under revision, and flatness and depth make sudden shifts the characters (including reader and writer) negotiate, making forward movement exciting: the stakes are still high, even as we’re reminded the game is lost. Meanwhile the field of the author’s attention is mobile, errant, including the frame or what takes place elsewhere, beyond (around, askew to) a “story.” The subject of this splendid collection is the texture of understanding in its uneasy motion through the “sonorous dark”—in other words, the work of love.
Laura Mullen
Jennifer K Dick’s Betwixt occurs at intermission—the point at which one act is made historical even as another supplants it. Inside this book, Eurydice and Orpheus wander the streets of Paris (which is also New York), Hades looks strangely like the Metro, and everything pickpockets the attributes of everything else. “Already what’s awaiting is rerouted,” Dick writes, as the tectonics of identity shift, destabilize and reconstitute, ushering forth a postmodern noir that sizzles with cosmopolitan smarts. Just further proof that poetry, like life, brooks no stasis: all is syncopation.
Chris Pusateri, author of Anon
Betwixt is a contemporary myth. It’s a “gaze cast,” where the unseen are momentarily seen—within shadow, under the pale light. It’s a dicey game of chance, in which time folds in on itself. Intimacy is held captive and released: “To: think only of her. Not to forget: she is. To: know this.” The impulse to turn leaves us standing still. In awe. Marveling at Jennifer K Dick’s “condensation of meaning.”
Michelle Naka Pierce, author of Beloved Integer
David Caddy, editor of Tears in the Fence
“In the ec-, ec- ectoplasm of the echo,” Jennifer K Dick’s new concerto sings vibrato, rocking us boldly into shadowscape of the serpentine underworld of starboard saints the order of Orpheus and Eurydice, those Hansels and Gretels. Lushly and lavishly into the underworld we descend to look and to never look back, to forage forward and toward her lyrical horizon, sinking cock-eared and then tipping into her dreamscapes, begging, “make it double,” please.
Sandy Florian, author of The Tree of No
In the sinuous descents of Jennifer K Dick’s Betwixt, we are among the debris of doxa not left to lie around an ailing modernist Thames or Rhime, but rather bound up again in the fascicle of a deeper myth-going gauntlet. Eurydice is the by-proxy birth of the lyric, of both its sad and smiling aspects (the marriage ceremony and the broken quest), two divided faces which both promise never to look back. Sex and scalpel, fusion and fissuring, no identity is left unknit in this astonishing revival. So we too may go deeper, into the passages of our choosing: “just follow the tracks in the dark, steady, steadying.”
Nicholas Manning, author of Novaless
In Jennifer K Dick’s wonderful rewinding of “loosely wound” myth, Orpheus and Eurydice are strung out on contemporary anxieties and pulled through the compelling lines of a tensely rhythmic language, an element at once familiar and strange. Description is unsteady, under revision, and flatness and depth make sudden shifts the characters (including reader and writer) negotiate, making forward movement exciting: the stakes are still high, even as we’re reminded the game is lost. Meanwhile the field of the author’s attention is mobile, errant, including the frame or what takes place elsewhere, beyond (around, askew to) a “story.” The subject of this splendid collection is the texture of understanding in its uneasy motion through the “sonorous dark”—in other words, the work of love.
Laura Mullen
Jennifer K Dick’s Betwixt occurs at intermission—the point at which one act is made historical even as another supplants it. Inside this book, Eurydice and Orpheus wander the streets of Paris (which is also New York), Hades looks strangely like the Metro, and everything pickpockets the attributes of everything else. “Already what’s awaiting is rerouted,” Dick writes, as the tectonics of identity shift, destabilize and reconstitute, ushering forth a postmodern noir that sizzles with cosmopolitan smarts. Just further proof that poetry, like life, brooks no stasis: all is syncopation.
Chris Pusateri, author of Anon
Betwixt is a contemporary myth. It’s a “gaze cast,” where the unseen are momentarily seen—within shadow, under the pale light. It’s a dicey game of chance, in which time folds in on itself. Intimacy is held captive and released: “To: think only of her. Not to forget: she is. To: know this.” The impulse to turn leaves us standing still. In awe. Marveling at Jennifer K Dick’s “condensation of meaning.”
Michelle Naka Pierce, author of Beloved Integer
Research Interests:
Conversion is a set of poems about Lesbos, Greece, accompanied by artwork and bookbinding and design by Kate Van Houten. The poems are printed on folio pages with images traversing the texts printed in blue. The paper is rare antique... more
Conversion is a set of poems about Lesbos, Greece, accompanied by artwork and bookbinding and design by Kate Van Houten. The poems are printed on folio pages with images traversing the texts printed in blue. The paper is rare antique Italian paper in an offwhite tone. The folio pages are enfolded in a a cover page and slipped into a handmade box which is lined with a fine bordeaux paper. Collection in an edition of 50 signed copies.
Research Interests:
This study focuses on Craig Santos Perez, author of the tetralogy from Unincorporated Territory (1. [Hacha], 2. [Saina], 3. [Guma'] et 4. [Lukao]). In this work, Perez attempts to decode a place for the territory of Guam-this almost... more
This study focuses on Craig Santos Perez, author of the tetralogy from Unincorporated Territory (1. [Hacha], 2. [Saina], 3. [Guma'] et 4. [Lukao]). In this work, Perez attempts to decode a place for the territory of Guam-this almost forgotten island, quasi-erased from maps, whose existence has been troubled a series of colonizations (Spainish, Japanese, American). The cultural disorientation (for the author, a brutal uprooting by the erasure of his ancestral culture and language as well as the destruction of the natural environment on his island) is born out of the radical mutation of this « home » beginning with the name of the place itself : Guam, Guma, Guåhan... Taking as example for this study from Unincorporated Territory [Lukao], the final book in Perez's tetralogy, the following article explores the elements which connect the real (autobiographical) landscapes of Guam and d'O'ahu in Hawaii to the imaginary landscapes (metaphoric, mythic and poetic) in order to demonstrate how this book, in its resistance to cultural displacement and colonialism for its author creates a kind of displacement (linguistic, cultural) for its readers. Through a process of back and forth (in time and languages), we find ourselves, assemble, reassemble, come back together
Research Interests:
Ce chapitre explore l'alpha et l'oméga des textes de l’auteur Jacques Sivan (1955-2016) en étudiant son premier et son dernier livre. Il s'agit d’interroger les techniques de la "poésie mo(t)léculaire" depuis GRIO VILLAGE DOUBLE jusqu'aux... more
Ce chapitre explore l'alpha et l'oméga des textes de l’auteur Jacques Sivan (1955-2016) en étudiant son premier et son dernier livre. Il s'agit d’interroger les techniques de la "poésie mo(t)léculaire" depuis GRIO VILLAGE DOUBLE jusqu'aux extraits du manuscrit inédit au moment de sa mort en 2016, NOTRE MISSION (livre qui a paru chez les presses du réel en sept 2019). Exploration d'un travail poétique qui est aussi visuel que sonore, qui sollicite l’œil et l'oreille, et qui trace un chemin technologique qui s'enracine dans la caméra pour enfin se projeter dans l’esprit d’un cyborg « de la dernière génération », « un être bionique constitué...par toutes les expériences inédites ». Mots, mécanique, mutation: ce chapitre tente de cerner un peu de la magique typographique et poétique qui rend l’œuvre de Sivan si important à la littérature de nos jours.
Research Interests:
Poésie et visuel : domaines américain et européen : Myung Mi Kim, Susan Howe et Anne-Marie Albiach Notre thèse explore les multiples voies proposées par Anne-Marie Albiach, Myung Mi Kim et Susan Howe pour organiser visuellement... more
Poésie et visuel : domaines américain et européen : Myung Mi Kim, Susan Howe et Anne-Marie Albiach
Notre thèse explore les multiples voies proposées par Anne-Marie Albiach, Myung Mi Kim et Susan Howe pour organiser visuellement l’espace de la page. L’usage de la dimension visuelle en poésie ouvre des possibilités que le Verbe a toujours eues : dépeindre, se dédoubler, et produire un écho visuel et sonore. La dimension du voir permet également la création de paradoxes par des juxtapositions d’éléments. Tout cela met en question le statut du langage et du langage poétique. Cette thèse étudie les moyens par lesquels des poésies interpellent leurs lecteurs et continuent à produire des significations qui dépassent par leur multiplicité la formation traditionnelle du sens. Ces œuvres créent des significations que l’on doit voir, et non comprendre, par le biais d’une lecture plurielle de composants (iconographiques, linguistiques, abstraits, sériels).
On prend comme point de départ l’étude des typologies du fragment et illustre comment la discrétion visuelle du fragment est intimement liée au développement de chaque poète. On interroge le rapport du mot à l’image afin de dégager des antécédents des procédés utilisés sur la page. On confirme que ces œuvres emploient des techniques « iconiques », comme le faisaient les calligrammes d’Apollinaire, mais y associent les techniques mallarméennes en étendant la lecture sur plusieurs pages. Les poésies de Howe, d’Albiach et de Kim présentent une synesthésie totale des correspondances entre des formes jusqu’à-là exploitées séparément. Par conséquent, ces œuvres radicalisent la notion de possible poétique en assimilant les techniques de la publicité, de la pop culture, du collage et du montage.
Mots clés : poésie, fragment, visuel, Anne-Marie Albiach, Myung Mi Kim, Susan Howe.
ENGLISH VERSION:
The visual use of the page in American and European poetry : Myung Mi Kim, Susan Howe and Anne-Marie Albiach
This dissertation explores the diverse ways in which the work of Anne-Marie Albiach, Myung Mi Kim and Susan Howe visually organises the space of the page. The use of poetry’s visual dimension enlarges the traditional possibilities of the Word: to depict, multiply and produce an echo which is simultaneously resonant and visual. Exploiting the gaze also creates paradoxes through the juxtaposition of various elements. All of this calls into question the status of language, and poetic language in particular. This dissertation studies the ways these poets engage their readers as they produce a plurality of meanings which extend far beyond traditional sense-making. These works have significations which need to be seen rather than understood, via a reading process of its multifarious components (iconographic, linguistic, abstract, in series).
This study’s point of departure is the consideration of various types of fragments which illustrate how the fragment’s visual subtlety is intimately linked to each poet’s development. Connections between word and image are closely examined in order to locate the antecedents for the procedures being applied to the page. These works use “iconographic” techniques much as Apollinaire did in his calligrammes, while associating with these Mallarmé’s methods of drawing a poem’s reading out over numerous pages. The poetries of Howe, Albiach and Kim present a synesthesia of correspondences between all the forms which had heretofore been used separately. Consequently, these works radicalize the notion of what is possible in poetry by assimilating advertising, pop culture, collage and montage techniques.
Key words : poetry, fragment, visual, Anne-Marie Albiach, Myung Mi Kim, Susan Howe.
École Doctorale 120 :
Discipline : Littérature Générale et Comparée
(Comparative Literature — French and American 20th Century Poetry.)
Notre thèse explore les multiples voies proposées par Anne-Marie Albiach, Myung Mi Kim et Susan Howe pour organiser visuellement l’espace de la page. L’usage de la dimension visuelle en poésie ouvre des possibilités que le Verbe a toujours eues : dépeindre, se dédoubler, et produire un écho visuel et sonore. La dimension du voir permet également la création de paradoxes par des juxtapositions d’éléments. Tout cela met en question le statut du langage et du langage poétique. Cette thèse étudie les moyens par lesquels des poésies interpellent leurs lecteurs et continuent à produire des significations qui dépassent par leur multiplicité la formation traditionnelle du sens. Ces œuvres créent des significations que l’on doit voir, et non comprendre, par le biais d’une lecture plurielle de composants (iconographiques, linguistiques, abstraits, sériels).
On prend comme point de départ l’étude des typologies du fragment et illustre comment la discrétion visuelle du fragment est intimement liée au développement de chaque poète. On interroge le rapport du mot à l’image afin de dégager des antécédents des procédés utilisés sur la page. On confirme que ces œuvres emploient des techniques « iconiques », comme le faisaient les calligrammes d’Apollinaire, mais y associent les techniques mallarméennes en étendant la lecture sur plusieurs pages. Les poésies de Howe, d’Albiach et de Kim présentent une synesthésie totale des correspondances entre des formes jusqu’à-là exploitées séparément. Par conséquent, ces œuvres radicalisent la notion de possible poétique en assimilant les techniques de la publicité, de la pop culture, du collage et du montage.
Mots clés : poésie, fragment, visuel, Anne-Marie Albiach, Myung Mi Kim, Susan Howe.
ENGLISH VERSION:
The visual use of the page in American and European poetry : Myung Mi Kim, Susan Howe and Anne-Marie Albiach
This dissertation explores the diverse ways in which the work of Anne-Marie Albiach, Myung Mi Kim and Susan Howe visually organises the space of the page. The use of poetry’s visual dimension enlarges the traditional possibilities of the Word: to depict, multiply and produce an echo which is simultaneously resonant and visual. Exploiting the gaze also creates paradoxes through the juxtaposition of various elements. All of this calls into question the status of language, and poetic language in particular. This dissertation studies the ways these poets engage their readers as they produce a plurality of meanings which extend far beyond traditional sense-making. These works have significations which need to be seen rather than understood, via a reading process of its multifarious components (iconographic, linguistic, abstract, in series).
This study’s point of departure is the consideration of various types of fragments which illustrate how the fragment’s visual subtlety is intimately linked to each poet’s development. Connections between word and image are closely examined in order to locate the antecedents for the procedures being applied to the page. These works use “iconographic” techniques much as Apollinaire did in his calligrammes, while associating with these Mallarmé’s methods of drawing a poem’s reading out over numerous pages. The poetries of Howe, Albiach and Kim present a synesthesia of correspondences between all the forms which had heretofore been used separately. Consequently, these works radicalize the notion of what is possible in poetry by assimilating advertising, pop culture, collage and montage techniques.
Key words : poetry, fragment, visual, Anne-Marie Albiach, Myung Mi Kim, Susan Howe.
École Doctorale 120 :
Discipline : Littérature Générale et Comparée
(Comparative Literature — French and American 20th Century Poetry.)
Research Interests:
Suite des entretiens d'Emmanuèle Jawad autour de création et politique. Après Véronique Bergen, Nathalie Quintane, Sandra Moussampès, Leslie Kaplan, Vannina Maestri et Marie Cosnay, c'est au tour de Jennifer K Dick, évoquant Le spectre... more
Suite des entretiens d'Emmanuèle Jawad autour de création et politique. Après Véronique Bergen, Nathalie Quintane, Sandra Moussampès, Leslie Kaplan, Vannina Maestri et Marie Cosnay, c'est au tour de Jennifer K Dick, évoquant Le spectre des langues possibles.
Signatures 17 octobre 2016 Création et politique, Entretiens, Livres, Traductions.
Signatures 17 octobre 2016 Création et politique, Entretiens, Livres, Traductions.
Research Interests: Multilingualism, Translation of Poetry, Twentieth-Century and Contemporary Poetry, Bilingualism and Multilingualism, Contemporary American Poetry, and 7 morePoetry and Politics, Traduction, poetry and politics in Europe and America, Multilingual Studies, Identity Studies, Border identities, hybridity, multilingualism, poetry, bilingual poetry, cultural studies, postcolonial studies, globalization studies, third culture kids, Jacques Sivan, Multilingual Writing), and Poesie Contemporaine
Research Interests:
Ce chapitre porte sur les premières années de SIC, la revue de Pierre Albert-Birot (PAB) qui voulait «prendre part au combat gigantesque» quand il conçut en 1915 une revue pour les «grands docteurs, les grands avocats» et les «grands... more
Ce chapitre porte sur les premières années de SIC, la revue de Pierre Albert-Birot (PAB) qui voulait «prendre part au combat gigantesque» quand il conçut en 1915 une revue pour les «grands docteurs, les grands avocats» et les «grands acteurs». Il voulait la distribuer dans les «grands hôtels» et «les salons de lecture des grands cercles» dans «des grands magasins». Il explique qu’ainsi «nous estimons que nous aussi nous aurons travaillé à la grande victoire, puisque nous aurons à la fois servi l’art et le commerce français». Le premier numéro de sa revue SIC paraît en janvier 1916 et elle tente de faire partie de la grande victoire en appelant à la création nouvelle à la fois artistique et scientifique. Elle mena PAB de plus en plus fréquemment au carrefour des mouvements les plus importants de son temps : le futurisme, le dadaïsme et le surréalisme, même si les premiers numéros ne sont distribués qu’aux amis et qu’aux hommes qui luttent dans les tranchées.
Ce chapitre explore les relations intimes entre l’art (visuel et littéraire) et la guerre. Premièrement en examinant comment SIC reflète une relation entre les arts et la langue des dernières avancées scientifiques comme outil pour l’art, pour le commerce et pour la guerre. Nous verrons comment le dialogue entretenu par PAB entre les arts et le monde politique et scientifique le mena de plus en plus fréquemment à des critiques des deux univers. Cet homme demandait qu’on soit moderne, plus moderne, et plus moderne encore—et donc il invitait ses contemporains à être de plus en plus en avance dans leur avant-gardisme. PAB en vint à remettre question la propagande artistique et industrielle. Il s’attaqua à la fois à l’art et à l’industrie et montra «par maints exemples empruntés à l’industrie et au commerce, que notre vie nationale souffrait surtout du manque d’initiative». Ses critiques devinrent un appel aux changements et à la création dans un espace où les frontières de l’art et de la science devenaient perméables. Comme Arlette Albert-Birot l’écrivit en août 1972, Sic reste «le témoin—ou l’acteur—de bien des bouleversements». Comme on pourrait le sous-entendre dans l’un des poèmes-préfaces de SIC : p106, PAB
"Le définitif n’existe pas.
Tout n’a pas été fait.
Ingénieurs ! toutes les forces n’ont pas été
employées : cherchez-en d’autres […]
Les 400 sont meilleurs que les 420 : c’est bien,
mais ce n’est qu’un perfectionnement.
Perfectionner est bien !
Créer est mieux !
Pourquoi ne regardez-vous que dans la direction
où regardent les autres ?
Ex. : Pourquoi L’ENGIN SUPÉRIEUR A UN
CANON NE SERAIT-IL PAS AUTRE CHOSE
QU’UN CANON ?
Cherchez autre chose
toujours autre chose
encore autre chose"
Ce chapitre explore les relations intimes entre l’art (visuel et littéraire) et la guerre. Premièrement en examinant comment SIC reflète une relation entre les arts et la langue des dernières avancées scientifiques comme outil pour l’art, pour le commerce et pour la guerre. Nous verrons comment le dialogue entretenu par PAB entre les arts et le monde politique et scientifique le mena de plus en plus fréquemment à des critiques des deux univers. Cet homme demandait qu’on soit moderne, plus moderne, et plus moderne encore—et donc il invitait ses contemporains à être de plus en plus en avance dans leur avant-gardisme. PAB en vint à remettre question la propagande artistique et industrielle. Il s’attaqua à la fois à l’art et à l’industrie et montra «par maints exemples empruntés à l’industrie et au commerce, que notre vie nationale souffrait surtout du manque d’initiative». Ses critiques devinrent un appel aux changements et à la création dans un espace où les frontières de l’art et de la science devenaient perméables. Comme Arlette Albert-Birot l’écrivit en août 1972, Sic reste «le témoin—ou l’acteur—de bien des bouleversements». Comme on pourrait le sous-entendre dans l’un des poèmes-préfaces de SIC : p106, PAB
"Le définitif n’existe pas.
Tout n’a pas été fait.
Ingénieurs ! toutes les forces n’ont pas été
employées : cherchez-en d’autres […]
Les 400 sont meilleurs que les 420 : c’est bien,
mais ce n’est qu’un perfectionnement.
Perfectionner est bien !
Créer est mieux !
Pourquoi ne regardez-vous que dans la direction
où regardent les autres ?
Ex. : Pourquoi L’ENGIN SUPÉRIEUR A UN
CANON NE SERAIT-IL PAS AUTRE CHOSE
QU’UN CANON ?
Cherchez autre chose
toujours autre chose
encore autre chose"
Research Interests:
L'ouvrage place sous l'éclairage de disciplines diverses les revues culturelles des années 1900-1940, selon un axe thématique fédérateur : la science. De nombreux périodiques répondirent aux nouvelles sollicitations scientifiques... more
L'ouvrage place sous l'éclairage de disciplines diverses les revues culturelles des années 1900-1940, selon un axe thématique fédérateur : la science. De nombreux périodiques répondirent aux nouvelles sollicitations scientifiques et techniques dans l'espoir de renouveler la poétique de la modernité.
Research Interests:
Poétiques scientifiques dans les revues européennes de la modernité (1900–1940), éd. T. Collani et N. Cuny, Classiques Garnier, coll. Rencontres n° 54, Paris 2013, in Stephanos 2, филологический факультет МГУ им. М. В. Ломоносова, Москва... more
Poétiques scientifiques dans les revues européennes de la modernité (1900–1940), éd. T. Collani et N. Cuny, Classiques Garnier, coll. Rencontres n° 54, Paris 2013, in Stephanos 2, филологический факультет МГУ им. М. В. Ломоносова, Москва 2013, p. 268–270. (http://stephanos.ru/izd/2013/2013_2_22.pdf)
Research Interests: Poetics and Avant Garde
Cette communication était ma première tentative de designer des techniques liées directement à l’influence de Mallarmé ou d’Apollinaire sur un siècle d’écrivains américains et français. J’en esquisse des typologies de l’utilisation... more
Cette communication était ma première tentative de designer des techniques liées directement à l’influence de Mallarmé ou d’Apollinaire sur un siècle d’écrivains américains et français. J’en esquisse des typologies de l’utilisation visuelle de la page dans la poésie, et je propose quelques termes et quelques voies d’influence qui émergent de ces deux écrivains au tournant du siècle dernier pour parler de la poésie écrite au tournant du siècle actuel. Cette communication fournit ainsi un contexte à ma thèse et à son exploration des formes visuelles de la poésie (l’utilisation dans la poésie de la disposition des mots sur les pages ainsi qu’une attention particulière à la typographie ; l’insertion des objets, des dessins et des photos ; l’écriture des collages, etc.).
L’article ci-joint répond aux questions suivantes : Pourrait-on aborder les questions de sens et du travail lyrique d’un texte à travers sa forme visuelle ? Sommes-nous toujours en train de redire ce qui a déjà été dit ? Comment aborder les paradoxes présentés par une écriture « postmoderne » ainsi que les définitions floues de ce terme « postmoderne » ?
Enfin, j’explore la notion de la « comparaison » de l’influence et de l’héritage littéraire.
L’article ci-joint répond aux questions suivantes : Pourrait-on aborder les questions de sens et du travail lyrique d’un texte à travers sa forme visuelle ? Sommes-nous toujours en train de redire ce qui a déjà été dit ? Comment aborder les paradoxes présentés par une écriture « postmoderne » ainsi que les définitions floues de ce terme « postmoderne » ?
Enfin, j’explore la notion de la « comparaison » de l’influence et de l’héritage littéraire.
Research Interests:
Si la langue est l’emprisonnement ? La langue dans laquelle, soudain, on est amené à parler et à vivre ? Tel est la situation de Myung Mi Kim, Coréene qui vit aux États-Unis depuis l’age de 9 ans. Elle écrit une poésie américaine «... more
Si la langue est l’emprisonnement ? La langue dans laquelle, soudain, on est amené à parler et à vivre ? Tel est la situation de Myung Mi Kim, Coréene qui vit aux États-Unis depuis l’age de 9 ans. Elle écrit une poésie américaine « post-moderne » dans laquelle elle explore la perte d’une langue (et d’un soi) pour acquérir une autre langue (et un autre soi). L’absence de liberté n’est pas physique, mais naît de la tension entre sa langue natale et l’américain qu’elle est obligée d’apprendre et de parler. Une poésie emprisonnée par la langue même du poète demande une ouverture radicale de cette langue vers d’autres, et vers d’autres formes y compris un travail à la surface de la page. C’est donc par le déplacement typographique de mots à travers la page et l’usage de langues étrangères, parfois même crées, en tant que texte lisible (y compris visuellement), que cet auteur met en lumière les insuffisances des poésies didactiques, narratives, voire les effusions du « modernisme » et du « lyrisme » en apportant des réponses diverses à cet emprisonnement. Bien que centrée sur Myung Mi Kim, notre intervention établira des perspectives plus larges sur une « modernité internationale » et l’influence qu’exerceront sure elle les poètes réfugiés politiques ou expatriés.
Research Interests:
Research Interests:
Ce texte critique retracera, de Mallarmé à nos jours, les origines des pratiques d’insertion des techniques publicitaires dans l’œuvre littéraire par des poètes concrets et visuels du monde entier. Il explorera également l’usage de... more
Ce texte critique retracera, de Mallarmé à nos jours, les origines des pratiques d’insertion des techniques publicitaires dans l’œuvre littéraire par des poètes concrets et visuels du monde entier. Il explorera également l’usage de l’humour noir dans ces poésies qui tentent de réagir au positivisme « matter of fact » et à un art consommateur (Lyotard). Dans un monde où l’image est censée tout dire, le statut du mot est mis en question, en abîme. Ainsi, des poètes contemporains commencent à « répondre à la “videation” de notre culture » (Marjorie Perloff) en travaillant ensemble le mot et l’image. Ils utilisent les techniques de la typographie, du collage, du montage, de la mise en page et de l’insertion de l’image (de BD, de Mangas) dans le texte. Le premier effet de cette tendance est l’invention d’une sorte de poème « publicitaire », où l’on remarque des parallélismes entre le signe, les panneaux d’affichage et le poème. Cependant, bien que ces auteurs (tels Clemente Padin, Franklin Capistrano, Jacques Sivan, Maurice Roche, Philadelpho Menezes, Susan Howe, Ricardo Goncalves, Mathias Goeritz, Holly Bittner, Vannina Maestri…) réutilisent des procédés empruntés à la Pop Culture, ils inversent (ou « subvertissent ») les rôles de dominant et de dominé pour renverser le message consumériste. En allant aux extrêmes limites de l’art et de la culture, ils utilisent les images de produits connus, des clichés contemporains de la beauté et de la décoration, ainsi que des symboles qui appartiennent à l’économie partagée (les signes monétaires, les termes de la bourse), pour les re-écrire dans des poèmes qui deviennent une affirmation de la vie et de la culture face à l’anti-art. Ces poèmes sont un art de combat face à « la culture zéro » qui leur est promise à travers la domination de la littérature par la culture des images, notre Pop Culture.
Research Interests:
“A Human of Mars” in Lyn Hejinian’s Tribunal (Omnidawn, 2019) opens “I am a human in the absence of others of a yet better red.”(11) while the central story in Anne Carson’s Autobiography of Red (Cape Poetry, 1999) begins in a world... more
“A Human of Mars” in Lyn Hejinian’s Tribunal (Omnidawn, 2019) opens “I am a human in the absence of others of a yet better red.”(11) while the central story in Anne Carson’s Autobiography of Red (Cape Poetry, 1999) begins in a world described as made of “red dirt” where the character, Geryon, is overwhelmed going to school on his first day: “Children poured around him and the intolerable red assault of grass and the smell of grass everywhere/ was pulling him towards it…”(23) “He stood on his small red shadow and thought what to do next.” (24)
This talk will explore the what next? behind these two author’s uses of red. Red of rage, of rebel, of alien, of liquid earth or of foreign planet Mars—red provides color-based symbolic ramifications for the definition of an alternate, radical self-identity. Both poetry collections center around a novel-like anti-hero/underdog character pondering “The riddle [that] persists: who am I?”(23). They navigate complex interrogations of interior and exterior worlds as their existence is entirely defined by “red”—the color of “dissent”, of “fire” for Hejinian’s “alien” and Carson’s “monstrous” Geryon (based on the Greek story of Herakles who heroically slayed him for his red cattle but who may also be, in her work, a phoenix-like immortal Yazcamac.) Red remains connected to its traditional symbolisms (rage, violence, desire, flesh, blood, love and Marxist politics). Yet in these works red is most significantly related to transformation—a red, deep fire, the life-force of lava, the earth’s center bubbling out to form new land, at once a destructive and constructive force. Red, as used in these texts, provides readers with a red-eye, perhaps even blinding, photo-flash reflection of an alternative self, one which is anti-binary, molten, other, as Hejinian’s “Human of Mars” states: “I depart, separating from myself and become a red image of it” (23) In the end these characters are “a drop of gold…molten matter returned from the core of the earth to tell you [show us] interior things” (59).
This talk will explore the what next? behind these two author’s uses of red. Red of rage, of rebel, of alien, of liquid earth or of foreign planet Mars—red provides color-based symbolic ramifications for the definition of an alternate, radical self-identity. Both poetry collections center around a novel-like anti-hero/underdog character pondering “The riddle [that] persists: who am I?”(23). They navigate complex interrogations of interior and exterior worlds as their existence is entirely defined by “red”—the color of “dissent”, of “fire” for Hejinian’s “alien” and Carson’s “monstrous” Geryon (based on the Greek story of Herakles who heroically slayed him for his red cattle but who may also be, in her work, a phoenix-like immortal Yazcamac.) Red remains connected to its traditional symbolisms (rage, violence, desire, flesh, blood, love and Marxist politics). Yet in these works red is most significantly related to transformation—a red, deep fire, the life-force of lava, the earth’s center bubbling out to form new land, at once a destructive and constructive force. Red, as used in these texts, provides readers with a red-eye, perhaps even blinding, photo-flash reflection of an alternative self, one which is anti-binary, molten, other, as Hejinian’s “Human of Mars” states: “I depart, separating from myself and become a red image of it” (23) In the end these characters are “a drop of gold…molten matter returned from the core of the earth to tell you [show us] interior things” (59).
Research Interests: Perception, Phenomenology, Autobiography, Contemporary American Literature, Postmodern Literature, and 11 moreDonna Haraway, Contemporary American Poetry, Color, Lyn Hejinian, Color Psychology and Use of Colour, Feminist Literature, Anne Carson, Bhanu Kapil, Color theory, use of colour, Autobiography of Red, and Michel Pastoureau
In this essay which opens "To what extent do place and time determine a poet?/To what extent do plague and time determine a poet?" the issues of value during a period of mass loss, of motivation to write, and rituals of remembrance are... more
In this essay which opens "To what extent do place and time determine a poet?/To what extent do plague and time determine a poet?" the issues of value during a period of mass loss, of motivation to write, and rituals of remembrance are explored. The text vacillates between critical prose readings of recent poets, political poetics reflections on pandemics and migrations due to attempts to escape contamination, and more poetry-like writing emerging from my Spring 2020 journals. Here, as I read others, I interrogate my own continuation and writing during this time of limbo and loss, in an ambiance of latent fear. Only one of the poets I speak of, Laura Mullen, is directly addressing Covid-19. Other works I examine were published before this illness appeared, but these poems, thoughts, and lines are resonant and pertinent to these times—and in particular to current issues of grief, absence, mourning. This explains the large reliance on my reading of Ghost Of by Diana Khoi Nguyen (Omnidawn, 2018).
Research Interests: Creative Writing, History of Plague, Literature and Trauma, Ian McEwan, Creative Writing (Poetry), and 14 morePoetry and Poetics, Susan Howe, Contemporary American Poetry, Poetry and Politics, Charles Olson, Death and Dying, Mourning and Remembrance, Rae Armantrout, The Sociology of Death, Dying and Funerals, Laura Mullen, Andrew Zawacki, AR Ammons, Loss and Pain in literature, COVID-19 PANDEMIC, and Diana Khoi Nguyen
Writing about N. NourbeSe Philip's Zong!, Nathanial Mackey asks whether reordering history's "linguistic protocols might undo or redo history itself." Many authors attempting to recalibrate the self within a sense of the nation and its... more
Writing about N. NourbeSe Philip's Zong!, Nathanial Mackey asks whether reordering history's "linguistic protocols might undo or redo history itself." Many authors attempting to recalibrate the self within a sense of the nation and its history are using innovative forms of hybridity to write a new America which defies Anglo-centric perspectives linguistically and visually. The goal is to show and tell personal history as part of a larger contextual History that has long been silenced. These authors collage, fragment and stutter, incorporating foreign languages and mixing or including English errors—as space for the illegible and unreadable in the reading process, and as a method of revising the History of the self and its nations. Weaving their multitudes of cultures and languages into the loom, at heart is the issue of resisting erasure.
Taking back the self, exploring ancestry, origins and histories that are rich with variants from the known American History, this paper will compare and contrast two contemporary authors, Craig Santos Perez (Chamorro and Pacific Rim author of [Saina] and other works) and Myung Mi Kim (Korean-American author of Dura, Under Flag and other works). I will attempt to demonstrate how their making of a new English within their poetry collections seeks to account for the experience of the multicultural and polyvalent self, for lost or vanishing cultures, but also ends up speaking for an inclusive "we" by allowing a space for that which cannot be expressed—that of the past and the present, of the Other and the foreigness in each of us. What will be explored is how these two authors, like many others at the end of the 20th century, have come to reassess the place of self and difference ON and VIA the page of the book. This presentation will conclude by trying to account for the explorations and demands made on readers of this new American poetics. As Craig Santos Perez writes: “redressed let our history be seen through watermarks heard /thru no one speech”
Taking back the self, exploring ancestry, origins and histories that are rich with variants from the known American History, this paper will compare and contrast two contemporary authors, Craig Santos Perez (Chamorro and Pacific Rim author of [Saina] and other works) and Myung Mi Kim (Korean-American author of Dura, Under Flag and other works). I will attempt to demonstrate how their making of a new English within their poetry collections seeks to account for the experience of the multicultural and polyvalent self, for lost or vanishing cultures, but also ends up speaking for an inclusive "we" by allowing a space for that which cannot be expressed—that of the past and the present, of the Other and the foreigness in each of us. What will be explored is how these two authors, like many others at the end of the 20th century, have come to reassess the place of self and difference ON and VIA the page of the book. This presentation will conclude by trying to account for the explorations and demands made on readers of this new American poetics. As Craig Santos Perez writes: “redressed let our history be seen through watermarks heard /thru no one speech”
Research Interests: Multiculturalism, Multilingualism, Postmodernism, Contemporary Literature, American Identities, and 14 moreContemporary Poetry, Postmodern Literature, Korean American Studies, Postmodern poetry, Korean American literature, Guam, Literary Multilingualism, Multilingualism in literary texts, Myung Mi Kim, Guamanian Culture, Craig Santos Perez, Modern and Postmodern American Poetry, Korean American culture and history, and Littérature polyglotte
Research Interests:
Chapter 4 by Jennifer K Dick of the book "Point, Dot, Period: The Dynamics of Punctuation in Text and Image", edited by Pascale Tollance and Laurence Petit, probes the continuum between divide and connection, halt and cyclical return... more
Chapter 4 by Jennifer K Dick of the book "Point, Dot, Period: The Dynamics of Punctuation in Text and Image", edited by Pascale Tollance and Laurence Petit, probes the continuum between divide and connection, halt and cyclical return based on definitions and explorations of the point and line in Anne Carson’s The Life of Towns and Wassily Kandinsky’s Point and Line to Plane. What is at stake at the heart of metaphor is newly explored by Carson’s focus on the subtle visual gesture of adding the punctuation mark to interrupt natural sentence progression. The space for punctum, pause, rift and halt or that of flow, of the line endlessly going on as geometry tells us it must do once it is in motion, get discombobulated. Is Carson’s work reminding us that the end stop is a wall, and that although all words of a sentence apparently make it an intertwined whole, as her “my pear, your winter” indicates, that perhaps there is also something divisive in the very nature of punctuation. This paper is an encounter between Kandinsky and Carson’s writings where the theoretical reflections and formal uses of circle and line in Kandinsky’s abstract paintings serve as a visual parallel to demonstrate the kinetic paradoxes in Carson’s poems. This chapter closes with a selection of Carson’s words translated into Kandinsky-like visual forms and an analysis of how such a process informs the reading of her texts.
Research Interests: Canadian Literature, Contemporary Poetry, Text And Image, Postmodernism (Literature), Canadian poetry, and 6 moreWassily Kandinsky, Anne Carson, Modern and Contemporary Art, Art Theory, and Criticism Continental Philosophy and Aesthetics Poetry and Critical Poetics Modernism and Posmodernism in Post World War Two North America, Contemporary Canadian Poetry, Issues of Text and Image, and Text and Image, Visual Poetics
Short essay on Anne Carson's "Kinds of Water" from the book "ANNE CARSON ECSTATIC LYRE" out from University of Michigan Press this spring (2015) and edited by JM Wilkinson. I have also included in the PDF the Table of Contents for the... more
Short essay on Anne Carson's "Kinds of Water" from the book "ANNE CARSON ECSTATIC LYRE" out from University of Michigan Press this spring (2015) and edited by JM Wilkinson. I have also included in the PDF the Table of Contents for the entire book on Carson.
Research Interests:
This article is the result of a presentation reflecting on the results of a series of interviews with contemporary “avant-garde” American and French poets from two generations who also run their own small presses. Issues such as... more
This article is the result of a presentation reflecting on the results of a series of interviews with contemporary “avant-garde” American and French poets from two generations who also run their own small presses. Issues such as receptivity, invisibility, distribution, collectives, the capacity for their authors to be seriously considered for literary prizes of a national and international stature, and the sense of the avant-garde as further marginalized by limited access to mainstream, recognized works, (those found in Borders/Amazon/Barnes & Noble, for example), were explored.
Publisher-authors included Lyn Hejinian (Atelos and Tuumba Press), Julie Carr (Counterpath Press—with Tim Roberts), Jérôme Mauche (Les Petits Matins), Cole Swensen (La Presse—publishing only translations from the French), Pascal Poyet (contrat maint), Charles Alexander (Chax Press), Brenda Iijima (Yo-yo labs), Tracey Grinnell (Litmus Press), Joshua Clover (**), Dan Machlin (Futurepoem Books), Michaël Batalla (éditions du Clou dans le Fer, collection expériences poétiques), Vanesse Place (Les Figues Presse) and Susana Gardner (Dusie Press, based in Switzerland).
Supplemental questions were be posed to a handful of poets who have published with these presses and/or other small presses and who have also later had the opportunity (or wish to) to see their work taken by mainstream or wider-distribution presses, such as Barrett Watten, Carla Harryman, Alice Notley, Susan Howe, Claude Royet-Journoud, Jacques Sivan, Vannina Maestri, Bhanu Kapil, Virginie Poitrasson, Frédéric Forte, Christophe Marchand-Kiss, Marie-Céline Siffert, Martin Richet, Michelle Noteboom, Laura Mullen and to such publishers who have radicalized the accessibility of avant-garde poetries, such as Al Dante, POL, or Green Integer/Sun & Moon. This article asks and reflects on the question: Have such publishing practices created not only domestic webs of contacts in the USA, thus co-publishing opportunities and readership, but even international ones?
Publisher-authors included Lyn Hejinian (Atelos and Tuumba Press), Julie Carr (Counterpath Press—with Tim Roberts), Jérôme Mauche (Les Petits Matins), Cole Swensen (La Presse—publishing only translations from the French), Pascal Poyet (contrat maint), Charles Alexander (Chax Press), Brenda Iijima (Yo-yo labs), Tracey Grinnell (Litmus Press), Joshua Clover (**), Dan Machlin (Futurepoem Books), Michaël Batalla (éditions du Clou dans le Fer, collection expériences poétiques), Vanesse Place (Les Figues Presse) and Susana Gardner (Dusie Press, based in Switzerland).
Supplemental questions were be posed to a handful of poets who have published with these presses and/or other small presses and who have also later had the opportunity (or wish to) to see their work taken by mainstream or wider-distribution presses, such as Barrett Watten, Carla Harryman, Alice Notley, Susan Howe, Claude Royet-Journoud, Jacques Sivan, Vannina Maestri, Bhanu Kapil, Virginie Poitrasson, Frédéric Forte, Christophe Marchand-Kiss, Marie-Céline Siffert, Martin Richet, Michelle Noteboom, Laura Mullen and to such publishers who have radicalized the accessibility of avant-garde poetries, such as Al Dante, POL, or Green Integer/Sun & Moon. This article asks and reflects on the question: Have such publishing practices created not only domestic webs of contacts in the USA, thus co-publishing opportunities and readership, but even international ones?
Research Interests:
As part of Jennifer K Dick's ongoing series on Tradition and Experiment in contemporary poetry for Tears In The Fence magazine in<Dorset, England, this interview of American author Rachel Blau DuPlessis begins what needs to be a much... more
As part of Jennifer K Dick's ongoing series on Tradition and Experiment in contemporary poetry for Tears In The Fence magazine in<Dorset, England, this interview of American author Rachel Blau DuPlessis begins what needs to be a much longer dialogue about the questions of visual form, collage and reading of such practices in her work, as well as in that of others.
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This article is the 11th in a series for Tears in the Fence--Vanessa Place's "PoetryPays" (VanessaPlace Inc, 2014), Anne-Marie Albiach's "Mezza Voce" (Post-Apollo, 1988 tr Joseph Simas et al) and Andrew Topel's "CONCRETE" (Avuncular... more
This article is the 11th in a series for Tears in the Fence--Vanessa Place's "PoetryPays" (VanessaPlace Inc, 2014), Anne-Marie Albiach's "Mezza Voce" (Post-Apollo, 1988 tr Joseph Simas et al) and Andrew Topel's "CONCRETE" (Avuncular Press, 2010) are discussed in relation to Mallarmé's Un Coup de Dés and the traditions of visual art and poetry since 1900. The column is the basis for a round table talk in Stourpaine, Dorset, UK on Oct 25th 2014 with Jennifer K Dick, Jeff Hilson and Richard Makin.
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This column for Tears in the Fence magazine reflects on the notion and definition of the contemporary Avant-Garde. Bouncing off ideas and articles by Marjorie Perloff, David Lehman and Alain Badiou, this short article discusses the role... more
This column for Tears in the Fence magazine reflects on the notion and definition of the contemporary Avant-Garde. Bouncing off ideas and articles by Marjorie Perloff, David Lehman and Alain Badiou, this short article discusses the role and possibility of naming and classifying material as part of defining or categorizing avant-gardism. The presence or absence of pop culture, normative speech, disjunctive speech or punctuation, and other formal techniques at the heart of aesthetic debates on poetic practice are also discussed, in particular as presented in works published by presses such as Wave books or Ugly Duckling Presse. The column ends responding to Perloff's claim that the new avant garde is lyric conceptualism, claiming instead that the new has not yet arrived, though perhaps "Authors interested in the potential for the unknown are almost waiting for an art to emerge that has the potential to surprise, scandalize, and radicalize their view." This article does not attempt to answer as much as to meander around and mull over some of the core debates about definition and position of avant gardism today.
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Participated in the “Microbiology in Poetry” Round Table at the closure of this Journée d'étude. Round Table with: Sarah Bouttier (Ecole Polytechnique), Jennifer K. Dick (Université de Haute Alsace), Catherine Larose (Institut des... more
Participated in the “Microbiology in Poetry” Round Table at the closure of this Journée d'étude. Round Table with: Sarah Bouttier (Ecole Polytechnique), Jennifer K. Dick (Université de Haute Alsace), Catherine Larose (Institut des Géosciences de l’Environnement) and Dorothy Lehane (Litmus Publishing). We discussed poems by the following authors: Jen Bervin, Pattiann Rogers, Les Murray, Adam Dickinson, and Simon Smith--adding some remarks on Christian Bök.
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Cette intervention posait des questions et des réflexions sur l'usage de trois styles de pensée "didactique" dans la poésie du livre Ryrkaïpii (Flammarion, 2023) de Philippe Beck. Style 1: l’énonciation dans un ordre énuméré (a, b, c).... more
Cette intervention posait des questions et des réflexions sur l'usage de trois styles de pensée "didactique" dans la poésie du livre Ryrkaïpii (Flammarion, 2023) de Philippe Beck. Style 1: l’énonciation dans un ordre énuméré (a, b, c). Style 2: l’emploi du signe « égale » en contraste avec son usage des deux points. Style 3 : Phrases du type « axiome » (qui vont en paire avec des questions, souvent rhétoriques). Pour cette troisième "style didactique", j'ai aussi proposé des sous-catégories des axiomes : Catégorie 1 : axiome directe, Catégorie 2: axiome-observation, Catégorie 3: axiome d’insistance : emphatique, Catégorie 4: axiome de l’ordre taxonomique et Catégorie 5: axiome avec une logique par connexions. Pour conclure: je montrerai comment l'usage des styles didactiques contribuent, dans cet œuvre, à établir l'énigme et à établir un espace de transformation.
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Mapping loss, ancestral history and the self onto the backbones of California: the roadways, no-tell motels, tourist sites and natural landscapes that surround and are embedded in the body and history of the speaker, Fugitive Assemblage... more
Mapping loss, ancestral history and the self onto the backbones of California: the roadways, no-tell motels, tourist sites and natural landscapes that surround and are embedded in the body and history of the speaker, Fugitive Assemblage (the 3rd Thing, Washington, 2020) is a work both deconstructing and reconstructing self and geographic (s)place. What makes us whole? What tears and rends us? Calkins' fragmented, collaged (including specific geographical maps) road-trip, which intended to go straight up the 105, takes a detour and thus maps, accidentally, the state onto the event haunting this story. Or rather, it is the map of place that makes this story about a rending from a whole. It asks what is native/who is native of a place? What is place over time? What borders are we allowed to traverse in what directions (north-south into and out of Mexico, south-north as a questionable return)? This talk will explore the intimate lineage of self and place as it is mapped and as the map is followed and detoured from in Calkins' unusual “assemblage”. Is the author scrambling the maps of California, or rather, in her own search for clarity, straightening the lines and the lineages of space and place back into place? Can we map our way home? Are maps redrawn by personal trips and the order we follow the lines of a place? Where do navigation and mapping collide? This literary work provides a form of counter-mapping demanding exploration in the context of a conference on mapping and counter-mapping like this one in Strasbourg.
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As definitions of nationality and citizenship develop and change, one of the unifying methods of assembling a people under one flag has continued to be language. Language tests have become a component of Nationality exams in France and... more
As definitions of nationality and citizenship develop and change, one of the unifying methods of assembling a people under one flag has continued to be language. Language tests have become a component of Nationality exams in France and other European States. Perception of poor reading or writing skills in the language of the country one is attempting to officially migrate into has even lead to the revocation of temporary asylum and national status. Defining nation and citizen based on language is even more highly problematic within the USA, where there has never been an official National Language. This talk will explore how this complex, highly fallacious method of calling a people a people, unified under the umbrella of language, has been radically deplored and deftly criticized within later 20th century and early 21st century experimental poetry and poetics, especially in the writings of marginalized and immigrant populations of the United States, from immigrants Theresa Hak Kyung Cha's and Myung Mi Kim’s books to USA native of Guam, Craig Santos Perez’s 4-book cycle from Unincorporated Territory. These authors, like Bhanu Kapil who I will also speak about, in inspiring, emblematic works, have quietly been lobbying through marginalized, often invisible poetic practices for non-binary existences, for new ways to say “I belong”, “I am here”, methods of recognizing the root relationship between language (as spoken and written) in attaining a post-national state of citizenship. These works are a reckoning and recognition of linguistic and cultural otherness within perceived unified nations. As such, exploration and study of these authors provide essential tools for deeper reflections on notions of citizenship and nationality in our increasingly globalized world.
Research Interests: Korean Literature and Culture, Contemporary Poetry, Citizenship, Postnationalism, Contemporary American Poetry, and 8 morePoetry and Politics, Literary Multilingualism, Theresa Hak Kyung Cha, Multilingualism and Identity, Myung Mi Kim, Minority and Ethnic Politics, Craig Santos Perez, and Postnational Identity
Programme avec liens pour la Visioconférence sur ZOOM ou Journée d'étude présentée sur place à l'UHA, FLSH, Salle Ganjavi. 3 sessions: 1 et 2 critiques. 3: soirée de lectures et de traductions.
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Susan Howe opens her book The Europe of Trusts with the declaration “For me there was no silence before armies” (9) and closes that initial essay (entitled "There are not leaves enough to crown to cover to crown to cover") with the desire... more
Susan Howe opens her book The Europe of Trusts with the declaration “For me there was no silence before armies” (9) and closes that initial essay (entitled "There are not leaves enough to crown to cover to crown to cover") with the desire to “…tenderly lift from the dark side of history, voices that are anonymous, slighted—inarticulate” (14). Thus Howe sets her mark high as her books tackle again and again History—both her own, lived experiences of war and post-war, but also the entire accumulation of the wars that History has left to her. War embedded in her a sense that language, the bits and pieces of it that arrived in her father’s letters, the scraps relocated, unearthed among archives, were the foundations for her own historical consciousness. As she wrote “questions of assigning the cause of history dictate the sound of what is thought.” (13) What therefore makes Susan Howe a key WWII and post-WWII voice is precisely how the war—with the departure of Susan Howe's father as well as her own migration to the States—is a rupture for her which is so profound that it feeds not only into what she writes, but into how she writes it (formally, visually, as fragmented and collaged). This talk will address how the one war she is experiencing is part of how she is able to write herself into the ongoing narrative of History in the making and unmaking, in the way it unifies and divides, defines and makes narrative, Epic, drama, and her poetry. As such, we will discuss and consider Susan Howe’s proclaimed "Historical consciousness".
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Je propose d’aborder la question de comment on peut lire une image, un espace blanc, un détournement de lettre ou d’un collage dans les œuvres hybrides de l’écrivain américaine Susan Howe. Je prendrai la position qu’on peut communiquer de... more
Je propose d’aborder la question de comment on peut lire une image, un espace blanc, un détournement de lettre ou d’un collage dans les œuvres hybrides de l’écrivain américaine Susan Howe. Je prendrai la position qu’on peut communiquer de façon non-verbale et, par ailleurs, que cette nouvelle « communication » verbo-visuelle permet une multiplicité d’instants d’entrer dans l’expérience d’un seule instant—multiplicité d’expériences s’élevant du texte pour l’auteur et le lecteur. Comme Howe l’écrit : « It’s the split between our need to communicate and our need to understand when the other one signals » (The Midnight, 141). Dans cette phrase, l’autre n’est pas un être de parole, pas plus qu’un être d’écriture. L’autre nous « signale », il nous fait signe — et ce signe qui est visuel, matérialisé, nous parle par-delà l’expression langagière.
Pour mieux expliquer l’encadrement de cette proposition d’intervention : Decio Pignatari, Heraldo et Augusto De Campos expliquent qu’en portant une attention particulière à l’aspect visuel et fragmenté, James Joyce nous a fourni une « interprétation organique du temps et de l’espace » qui était un « appel à la communication non-verbale » à la e.e. cummings avec son « atomisation des mots » et son « valorisation expressionniste de l’espace ». Susan Howe reprend ces pratiques dans ses textes qui sont dynamiques dans leur distribution spatiale inédite, bien qu’ils ne soient pas seulement ou totalement optique dans leur déroulement structuro-typographique. Howe construit une poésie qui « bénéficie des avantages de la communication non-verbale, sans renoncer aux virtualités de la parole »[1]. Ainsi s’élève de cette poésie « un phénomène de métacommunication : coïncidence et simultanéité de la communication verbale et non verbale, avec ceci de particulier qu’il s’agit d’une communication de formes, d’une structure-contenu, non d’une simple communication de messages »[2]. Avec le mélange de techniques d’art plastique et de langage, Howe est dirigée par la dissipation de la frontière entre le moi et l’autre, l’usage spatial de la page, et le concept d’un « point du temps où la distinction passé-avenir se dissipe »[3]. Elle utilise des techniques de collage pour mieux exprimer une « Réalité » multiple et fragmentée peut-être née du besoin de retrouver (et / ou d’effacer) le Soi[4]. Howe introduit un espace sur la page et à travers le livre où le sens et la signifiance prennent une forme mobile pour faire d’après Krzysztof Ziarek une poésie évènementielle et trans-chronologique, sans l’illusion d’une stabilité ou d’une fixité dans un temps ou une expérience. Il explique que « Its challenge translates into a different understanding of meaning: meaning irreducible to signification, to the play of linguistic signs, but, instead, thought of in terms of opening the space for meaning »[5] et il cite Jean-Luc Nancy qui déclare : « La différence de l’être en lui-même, […] ne fait pas un sens disponible en tant que signification, mais elle est l’ouverture d’un espace nouveau pour le sens, d’un espacement, ou, si on ose dire, d’un ‘spaciosité’ de l’élément spacieux qui seul peut accueillir du sens. »[6] Pour les poètes contemporains comme Howe, leurs textes restent, « […] des mots à voir avant que d’en lire le sens, à répéter à des moments précis pour en vivre le processus phonématique interne »[7].
NOTES:
[1] Carlo Belloli, « Poésie Visuelle. 1944. », in Valetudo testi e pretesti visuali, Rome-Naples, Press editore, 1976, trad. Romanello Gordiani.
[2] Augusto De Campos, Harolodo De Campos et Decio Pignatari, « Plan Pilote pour la poésie concrète. 1958. », trad. Michel Riaudel, in Jacinto Lageira, éd., Du Mot à l’Image et du Son au Mot : Théories, manifeste, documents, une anthologie de 1897 à 2005, Marseilles, Le Mot et le Reste, 2006, (Coll. Formes), pp. 198.; orig. dans Noigrandes, n°4.
[3] Philippe Sollers, « Littérature et totalité », L’écriture et l’expérience des limites, Paris, Editions de Seuil, (Coll. Tel Quel), 1968, p. 69.
[4] Concept exprimé par Marjorie Perloff, Radical Artifice, Chicago et Londres, University of Chicago Press, 1998.
[5] Krzysztof Ziarek, « “A Sounding of Uncertainty” : Susan Howe’s Gendering of History », in The Historicity of Experience: Modernity, the Avant-Garde, and the Event, Evanston, Illinois, USA, Northwestern University Press, 2001, p. 291.
[6] Jean-Luc Nancy, L’expérience de la liberté, Paris, Galilée, 1988, p. 23.
[7] Belloli, op. cit., Les italiques sont les miennes.
Pour mieux expliquer l’encadrement de cette proposition d’intervention : Decio Pignatari, Heraldo et Augusto De Campos expliquent qu’en portant une attention particulière à l’aspect visuel et fragmenté, James Joyce nous a fourni une « interprétation organique du temps et de l’espace » qui était un « appel à la communication non-verbale » à la e.e. cummings avec son « atomisation des mots » et son « valorisation expressionniste de l’espace ». Susan Howe reprend ces pratiques dans ses textes qui sont dynamiques dans leur distribution spatiale inédite, bien qu’ils ne soient pas seulement ou totalement optique dans leur déroulement structuro-typographique. Howe construit une poésie qui « bénéficie des avantages de la communication non-verbale, sans renoncer aux virtualités de la parole »[1]. Ainsi s’élève de cette poésie « un phénomène de métacommunication : coïncidence et simultanéité de la communication verbale et non verbale, avec ceci de particulier qu’il s’agit d’une communication de formes, d’une structure-contenu, non d’une simple communication de messages »[2]. Avec le mélange de techniques d’art plastique et de langage, Howe est dirigée par la dissipation de la frontière entre le moi et l’autre, l’usage spatial de la page, et le concept d’un « point du temps où la distinction passé-avenir se dissipe »[3]. Elle utilise des techniques de collage pour mieux exprimer une « Réalité » multiple et fragmentée peut-être née du besoin de retrouver (et / ou d’effacer) le Soi[4]. Howe introduit un espace sur la page et à travers le livre où le sens et la signifiance prennent une forme mobile pour faire d’après Krzysztof Ziarek une poésie évènementielle et trans-chronologique, sans l’illusion d’une stabilité ou d’une fixité dans un temps ou une expérience. Il explique que « Its challenge translates into a different understanding of meaning: meaning irreducible to signification, to the play of linguistic signs, but, instead, thought of in terms of opening the space for meaning »[5] et il cite Jean-Luc Nancy qui déclare : « La différence de l’être en lui-même, […] ne fait pas un sens disponible en tant que signification, mais elle est l’ouverture d’un espace nouveau pour le sens, d’un espacement, ou, si on ose dire, d’un ‘spaciosité’ de l’élément spacieux qui seul peut accueillir du sens. »[6] Pour les poètes contemporains comme Howe, leurs textes restent, « […] des mots à voir avant que d’en lire le sens, à répéter à des moments précis pour en vivre le processus phonématique interne »[7].
NOTES:
[1] Carlo Belloli, « Poésie Visuelle. 1944. », in Valetudo testi e pretesti visuali, Rome-Naples, Press editore, 1976, trad. Romanello Gordiani.
[2] Augusto De Campos, Harolodo De Campos et Decio Pignatari, « Plan Pilote pour la poésie concrète. 1958. », trad. Michel Riaudel, in Jacinto Lageira, éd., Du Mot à l’Image et du Son au Mot : Théories, manifeste, documents, une anthologie de 1897 à 2005, Marseilles, Le Mot et le Reste, 2006, (Coll. Formes), pp. 198.; orig. dans Noigrandes, n°4.
[3] Philippe Sollers, « Littérature et totalité », L’écriture et l’expérience des limites, Paris, Editions de Seuil, (Coll. Tel Quel), 1968, p. 69.
[4] Concept exprimé par Marjorie Perloff, Radical Artifice, Chicago et Londres, University of Chicago Press, 1998.
[5] Krzysztof Ziarek, « “A Sounding of Uncertainty” : Susan Howe’s Gendering of History », in The Historicity of Experience: Modernity, the Avant-Garde, and the Event, Evanston, Illinois, USA, Northwestern University Press, 2001, p. 291.
[6] Jean-Luc Nancy, L’expérience de la liberté, Paris, Galilée, 1988, p. 23.
[7] Belloli, op. cit., Les italiques sont les miennes.
Research Interests:
TALK: This paper will explore how the address form of haunting as a source of madness and guilt are used in Edgar Allan Poe’s classic short story, “The Tell-Tale Heart” and are revisited in Laura Mullen’s 2007 book Murmur in the section... more
TALK: This paper will explore how the address form of haunting as a source of madness and guilt are used in Edgar Allan Poe’s classic short story, “The Tell-Tale Heart” and are revisited in Laura Mullen’s 2007 book Murmur in the section “Killer Confesses to Unspeakable Acts” containing a 5-part poem entitled “The Tell-Tale Heart”. Mullen’s direct homage to Poe in her postmodern hybrid work forces readers to take note of how rhythmic and fragmented Poe’s short stories were, and thus how contemporary “The Tell-Tale Heart” still is. In both Mullen and Poe’s work, the origin of haunting is that of an act that has led to a palpable sense of presence—the spectral body, the buried, the submerged, is the entirely impossible to forget. It rends the mind, the phrases and sentences on the page, and drives these characters to confession. Rhythm in the short story and poetry, imitating the panicked mind, the confused and embroiled in a space between acting on a physical plane and hallucinating an alternate reality, and how the narrative technique of haunting in the mind of a first-person narrator works in each of these works, will be addressed in this paper . As I explore the reuse of Poe by Mullen, “haunting, as palimpsestic” and “intertextual” and the use in contemporary literature of recognizable source material that “lurk[s] beneath the surface of [the] contemporary” will also be touched upon. In the end, the short stories of Poe live on not only in the techniques and themes addressed by short fiction authors today, but also by poets working between genres like Mullen.
Research Interests: Gothic Literature, Contemporary Poetry, Short story (Literature), Postmodernism (Literature), Postmodern Literature, and 10 moreEdgar Allan Poe, Haunting and Spectrality, Short Stories, Monsters, Ghosts, Haunting, Guilt, Haunting, Literary revision, Shame and Guilt, Laura Mullen, and The Tell-Tale Heart
The U.S. has a rich short story history including an American Suburb branch focused on themes of identity, morality, gender, social status, sociability and consumer culture in works from mid-20th century authors like John Cheever, Richard... more
The U.S. has a rich short story history including an American Suburb branch focused on themes of identity, morality, gender, social status, sociability and consumer culture in works from mid-20th century authors like John Cheever, Richard Yates and John Updike to contemporary authors like Amy Hempl, Joyce Carol Oates, A.M. Homes, Richard Lange or Don Delillo. Oftentimes, the characters in these stories long to be back in the big city, amid the hustle and bustle, and are dealing with adapting—or finding themselves unable to adapt—to their suburbanite borders. It is not surprising that with the massive rise in well-educated middle to upper-middle class immigrants from India, that many recent American suburbs have changed from the Cleavers’ and the Jones’ to the Sens’ and the Reddy’s, with suburban fiction tackling less metaphoric issues of assimilation. In fact, “The 1970 census recorded 51,000 foreign born from India in the United States. By 2006, the number of Indian immigrants had grown nearly 30-fold to 1.5 million, making them the fourth largest immigrant group in the United States ..” and “Compared to other immigrant groups [in the USA], the foreign born from India are highly educated”. Addressing this new suburbanite population’s literature, this talk will focus on the most well-known short fiction author from this group, Jhumpa Lahiri—winner of the 2000 Pulitzer Prize, and a nominee for the 2013 Man Booker Prize and National Book Award for Fiction. Highlighting issues of transnationalism, assimilation, homesickness, gender identity, religious practice and social roles, as well as specifically American Suburban topics such as driving, fast food, and mall culture, passages in Lahiri’s works will be compared to extracts by authors such as Mohan Sikka, Anita Desai, S Mitra Kalita, Rakesh Satyal, and Suketu Mehta. In our increasingly borderless global economy, it is often a sense of home, an ability to feel planted and rooted, that these stories return us to. They connect to the original traditions of the American Suburban story while reaching an international contemporary readership extending far beyond that of the immigrant and suburban cultures they represent.
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Writing about N. NourbeSe Philip's Zong!, Nathanial Mackey asks whether reordering history's "linguistic protocols might undo or redo history itself." Many authors attempting to recalibrate the self within a sense of the nation and its... more
Writing about N. NourbeSe Philip's Zong!, Nathanial Mackey asks whether reordering history's "linguistic protocols might undo or redo history itself." Many authors attempting to recalibrate the self within a sense of the nation and its history are using innovative forms of hybridity to write a new America which defies Anglo-centric perspectives linguistically and visually. The goal is to show and tell personal history as part of a larger contextual History that has long been silenced. These authors collage, fragment and stutter, incorporating foreign languages and mixing or including English errors—as space for the illegible and unreadable in the reading process, and as a method of revising the History of the self and its nations. Weaving their multitudes of cultures and languages into the loom, at heart is the issue of resisting erasure.
Taking back the self, exploring ancestry, origins and histories that are rich with variants from the known American History, this paper will compare and contrast two contemporary authors, Craig Santos Perez (Chamorro and Pacific Rim author of [Saina] and other works) and Myung Mi Kim (Korean-American author of Dura, Under Flag and other works). I will attempt to demonstrate how their making of a new English within their poetry collections seeks to account for the experience of the multicultural and polyvalent self, for lost or vanishing cultures, but also ends up speaking for an inclusive "we" by allowing a space for that which cannot be expressed—that of the past and the present, of the Other and the foreigness in each of us. What will be explored is how these two authors, like many others at the end of the 20th century, have come to reassess the place of self and difference ON and VIA the page of the book. This presentation will conclude by trying to account for the explorations and demands made on readers of this new American poetics. As Craig Santos Perez writes: “redressed let our history be seen through watermarks heard /thru no one speech…” (from [Saina])
Taking back the self, exploring ancestry, origins and histories that are rich with variants from the known American History, this paper will compare and contrast two contemporary authors, Craig Santos Perez (Chamorro and Pacific Rim author of [Saina] and other works) and Myung Mi Kim (Korean-American author of Dura, Under Flag and other works). I will attempt to demonstrate how their making of a new English within their poetry collections seeks to account for the experience of the multicultural and polyvalent self, for lost or vanishing cultures, but also ends up speaking for an inclusive "we" by allowing a space for that which cannot be expressed—that of the past and the present, of the Other and the foreigness in each of us. What will be explored is how these two authors, like many others at the end of the 20th century, have come to reassess the place of self and difference ON and VIA the page of the book. This presentation will conclude by trying to account for the explorations and demands made on readers of this new American poetics. As Craig Santos Perez writes: “redressed let our history be seen through watermarks heard /thru no one speech…” (from [Saina])
Research Interests: Multiculturalism, Postmodernism, Postmodern poetry, Korean American literature, Multilingual Studies, Identity Studies, Border identities, hybridity, multilingualism, poetry, bilingual poetry, cultural studies, postcolonial studies, globalization studies, third culture kids, and 7 moreChamorro language, Literature and Identity, Constructions of identity in Literature and Culture, Myung Mi Kim, Guamanian Culture, Craig Santos Perez, and Jogos Pan-americanos
Présentation dans le domain de la littérature et de l'art comparée. Cette conférence était sur l’influence de la publicité sur la poésie et les pratiques poétiques ET l’action inverse—l’effet que la poésie et les pratiques artistiques ont... more
Présentation dans le domain de la littérature et de l'art comparée. Cette conférence était sur l’influence de la publicité sur la poésie et les pratiques poétiques ET l’action inverse—l’effet que la poésie et les pratiques artistiques ont sur la publicité. Organisée en deux parties distinctes, cette conférence a commencé par l'exploration pratique et théorique de quelques exemples de poèmes et d’œuvres plastiques (ie de Jacques Sivan, Stéphane Mallarmé, Clemente Padin, Anatol Knotek, Marcel Broodthaers, Barbara Kruger, Alfredo Jaar, MadeIn Co, Robert Mongomery, Jenny Holzer, André Breton, Françis Picabia et Franklin Capistrano) dont les techniques et les formes de publicités répondent au langage typiquement utilisé par la culture de masse ou alors se détournent vers d’autres fins. On a noté comment le lexique économique et politique peut être utilisé pour parodier, commenter, ou critiquer l’économie, l’art et des systèmes politiques. On a également remarqué comment des écrivains et des plasticiens montrent l’influence, l’importance et les dangers de la prédominance économique du monde dans lequel on vit.
Deuxièmement, cette conférence a exploré un mouvement inverse (en utilisant comme examples les compagnes de publicités de Hallmark, de SwissLife Insurance, de Nike et de Levis Jeans). On a examiné comment la culture de masse commence à favoriser une singularité et comment elle tente de reconnecter avec l’individu au lieu de traiter ce dernier comme un élément isolé de la masse. En d’autres termes, va-t-on vers un commerce de masse qui touche à la singularité de chaque être grâce à l’utilisation des techniques poétiques ? Allant encore plus loin, la publicité peut-elle être une forme d’art poétique, ou même une forme de poésie engagée ?
Deuxièmement, cette conférence a exploré un mouvement inverse (en utilisant comme examples les compagnes de publicités de Hallmark, de SwissLife Insurance, de Nike et de Levis Jeans). On a examiné comment la culture de masse commence à favoriser une singularité et comment elle tente de reconnecter avec l’individu au lieu de traiter ce dernier comme un élément isolé de la masse. En d’autres termes, va-t-on vers un commerce de masse qui touche à la singularité de chaque être grâce à l’utilisation des techniques poétiques ? Allant encore plus loin, la publicité peut-elle être une forme d’art poétique, ou même une forme de poésie engagée ?
Research Interests: Popular Culture, Contemporary Art, Stéphane Mallarmé, Contemporary Poetry, Text And Image, and 9 morePoésie, Publicité, Littérature Comparée, Text and Image Arts, Littérature Générale Et Comparée, Issues of Text and Image, Text and Image, Visual Poetics, Jacques Sivan, and Poésie Et Arts Plastiques : Interactions, éChanges
For this 2013 edition of the SAES conference (in the Friday 17 May at 14h30 session in Dijon, France) I propose to explore the way the limits of the name “poetry” are stretched and fragmented as relates to genre in the currently very... more
For this 2013 edition of the SAES conference (in the Friday 17 May at 14h30 session in Dijon, France) I propose to explore the way the limits of the name “poetry” are stretched and fragmented as relates to genre in the currently very fashionable ‘postmodern poetic autobiography’. Evident late 20th and early 21st century practitioners of this mode will be discussed in brief based on a more in-depth processed look at their theoretic and poetic predecessors--Lyn Hejinian, Kathleen Fraser, Wallace Stevens, Gertrude Stein, Frank O'Hara, Susan Howe, Myung Mi Kim and Carla Harryman-- so as to hear echos in works including those by Joan Retallack (ie: Memnoir), Laura Mullen (After I was Dead, or Murmur), Bhanu Kapil (Incubation: A Space for Monsters, and Schizophrene), Eleni Sikelianos (Body Clock, and The Book of Jon) or Anne Carson (Anthropology of Water, or Nox and also Autobiograhy of Red). How these fragmented and collaged practices of writing the self (and personal past) have changed from their precursors will require comparisons and contrasts with techniques originating in My Life by Lyn Hejinian as well as her reflections in her essays in "The Language of Inquiry", and the writings of Kathleen Fraser in translating the unspeakable: Poetry and Innovative Necessity. Much of the theoretical and practical poetic debates about writing of the self hit their peak during the confessionalist movement, thus brief contrasts to Lowell, Rich, Sexton, Plath, and late confessionalist Louise Gluck will be mentioned. What will be seen is that these "autobiographies" or "memoirs" are looking to flatten the binary space between self and other, poetry and prose, personal history and History itself. I will conclude with a visual glimpse of the combinatory history and autobiography work by Susan Howe and Myung Mi Kim in extracts from their works, and ask the question--so, where are we going to now? If the I is (not) the I?
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Resumé en anglais pour présentation orale (PDF ci-joint) en français: Just as the surprise of something unexpected makes a visual artwork remarkable, unlike things are yoked together in literature. Yet for all their differences, there is... more
Resumé en anglais pour présentation orale (PDF ci-joint) en français: Just as the surprise of something unexpected makes a visual artwork remarkable, unlike things are yoked together in literature. Yet for all their differences, there is also something as familiar as the constant tug of war between the circle and the line. The point of the end-stop closes the sentence, contains or encircles it. The start of a sentence is the opening of a line heading towards the horizon in the next phrase or painting. Yet, as Kandinsky says, there is a concentric tension in the point that can be ripped from its anchored, stilled state to be subjected to other laws than those of stasis, and that is when the point becomes the line. The circle opens, stretches towards something else. It is then not division but link.
This continuum between divide and connection is at the heart of all metaphor, but is newly explored with the subtle visual gesture of adding the punctuation mark to interrupt the natural sentence flow in the 36 poems in Anne Carson’s The Life of Towns. Take for example this extract from Emily Town:
[…]
Snow or a library.
Or a band of angels.
With a message is.
Not what.
It meant to.
Her.
As in the theoretical reflections and the artwork of Kandinsky, the space for the punctum, the pause, the rift and the halt or that of the flow, the line endlessly going on as geometry tells us it must once in motion do, get discombobulated in Carson’s poem. We find ourselves juggling in a world which interrupts itself, stuttering in the staccato blocks, unable to find the natural flow of the sentence. The eye is drawn forward and pauses. In her preamble to The Life of Towns, Carson writes “A scholar is someone who takes a position. From which position, certain lines become visible.” What might those lines be? Are they the life of towns which connect by proximity, by being encircled within a set boundary—“My pear, your winter”—as she states? Or is Carson’s work reminding us that the end stop is a wall, and that though we may feel all words of a sentence make it a whole, there is something divisive in the very nature of language. This short talk will attempt to use Kandinsky and Carson’s writings to discuss the connective and disconnective uses of the period as seen in Carson’s Life of Towns. The formal uses of circle and line in Kandinsky’s abstract paintings will serve as a visual parallel to demonstrate the kinetic confusions in these poems.
This continuum between divide and connection is at the heart of all metaphor, but is newly explored with the subtle visual gesture of adding the punctuation mark to interrupt the natural sentence flow in the 36 poems in Anne Carson’s The Life of Towns. Take for example this extract from Emily Town:
[…]
Snow or a library.
Or a band of angels.
With a message is.
Not what.
It meant to.
Her.
As in the theoretical reflections and the artwork of Kandinsky, the space for the punctum, the pause, the rift and the halt or that of the flow, the line endlessly going on as geometry tells us it must once in motion do, get discombobulated in Carson’s poem. We find ourselves juggling in a world which interrupts itself, stuttering in the staccato blocks, unable to find the natural flow of the sentence. The eye is drawn forward and pauses. In her preamble to The Life of Towns, Carson writes “A scholar is someone who takes a position. From which position, certain lines become visible.” What might those lines be? Are they the life of towns which connect by proximity, by being encircled within a set boundary—“My pear, your winter”—as she states? Or is Carson’s work reminding us that the end stop is a wall, and that though we may feel all words of a sentence make it a whole, there is something divisive in the very nature of language. This short talk will attempt to use Kandinsky and Carson’s writings to discuss the connective and disconnective uses of the period as seen in Carson’s Life of Towns. The formal uses of circle and line in Kandinsky’s abstract paintings will serve as a visual parallel to demonstrate the kinetic confusions in these poems.
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This pedagogic talk presented writing into reading exercises to teachers of Faulker and for use in intro to intermediate level Creative Writing workshops. The dual purpose was to propose alternative teaching tools for Faulkner literature... more
This pedagogic talk presented writing into reading exercises to teachers of Faulker and for use in intro to intermediate level Creative Writing workshops. The dual purpose was to propose alternative teaching tools for Faulkner literature classes but also to provide specific Faulkner-based writing exercises to accompany those teaching fiction writing to student authors in Creative Writing courses. As this talk was given in France, I also touched on ways that these kinds of lessons might accompany foreign language courses such as phonetics and grammar, or commentary classes which are a specific focus of many of the concours exams here. The talk broke down into a series of suggested writing exercises based on fiction writing techniques from plot, character, setting/scene descriptions, point of view to dialogue and using Faulkner’s novels "As I Lay Dying", "The Sound and the Fury" and "Intruder in the Dust", and his short stories "A Rose for Emily" and "The Bear". I classified the audiences of these Faulkner-based writing exercises into the following categories:
I) PURPOSE I: For “expression ecrite”/ creative writing or writing in lit classes:
** To learn about the techniques of fiction (writing)
** To study elements of form (recognizing and analyzing these separately)
II) PURPOSE II: For “commentaire” classes:
** To learn to read closely via writing imitations, responses, versions of Faulkner, pastiches, etc.
II) PURPOSE III: Back to language basics—for Grammar and Phonetics courses, with a focus on syntax as well:
** To recognize normative / proper American English vs Southern American English, dialects, regional slang, etc.
** To explore sound vs spelling (as aspect of voice)
** “Dick and Jane” vs. the Faulkner sentence
I) PURPOSE I: For “expression ecrite”/ creative writing or writing in lit classes:
** To learn about the techniques of fiction (writing)
** To study elements of form (recognizing and analyzing these separately)
II) PURPOSE II: For “commentaire” classes:
** To learn to read closely via writing imitations, responses, versions of Faulkner, pastiches, etc.
II) PURPOSE III: Back to language basics—for Grammar and Phonetics courses, with a focus on syntax as well:
** To recognize normative / proper American English vs Southern American English, dialects, regional slang, etc.
** To explore sound vs spelling (as aspect of voice)
** “Dick and Jane” vs. the Faulkner sentence
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This talk attempted to show parallel grounds between word and langauge use by visual artists and by poets. It treated some of the debates around the "end of poetry" and of literature, touching on issues relating to hypertext work.... more
This talk attempted to show parallel grounds between word and langauge use by visual artists and by poets. It treated some of the debates around the "end of poetry" and of literature, touching on issues relating to hypertext work. Primarily, this talk addressed the dialectic exchange and the opening of the poem, as the conference call mentioned: "...a dialectical exchange between internal and external worlds, between the near and the far, an infinite becoming … an inaccessible space, impossible, unknowable:
the open space beyond the horizon. And, finally, the horizon of the work itself: the poem as its own horizon of expectation, forever opening out onto its own possibilities, its own beginnings and endings: its own entelechy." I spoke of works by visual artists and by poets at the end of the 20th century.
the open space beyond the horizon. And, finally, the horizon of the work itself: the poem as its own horizon of expectation, forever opening out onto its own possibilities, its own beginnings and endings: its own entelechy." I spoke of works by visual artists and by poets at the end of the 20th century.
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"This talk presented commentary and reflections on the results of a series of interviews with “avant-garde” American and French poets from two generations who also run their own small presses. Issues such as receptivity, invisibility,... more
"This talk presented commentary and reflections on the results of a series of interviews with “avant-garde” American and French poets from two generations who also run their own small presses. Issues such as receptivity, invisibility, distribution, collectives, the capacity for their authors to be seriously considered for literary prizes of a national and international stature, and the sense of the avant-garde as further marginalized by limited access to mainstream, recognized works, (those found in Borders/Amazon/Barnes & Noble, for example), were explored.
Publisher-authors included Lyn Hejinian (Atelos and Tuumba Press), Julie Carr (Counterpath Press—with Tim Roberts), Jérôme Mauche (Les Petits Matins), Cole Swensen (La Presse—publishing only translations from the French), Pascal Poyet (contrat maint), Charles Alexander (Chax Press), Brenda Iijima (Yo-yo labs), Tracey Grinnell (Litmus Press), Joshua Clover (**), Dan Machlin (Futurepoem Books), Michaël Batalla (éditions du Clou dans le Fer, collection expériences poétiques), Vanesse Place (Les Figues Presse) and Susana Gardner (Dusie Press, based in Switzerland).
Supplemental questions were be posed to a handful of poets who have published with these presses and/or other small presses and who have also later had the opportunity (or wish to) to see their work taken by mainstream or wider-distribution presses, such as Barrett Watten, Carla Harryman, Alice Notley, Susan Howe, Claude Royet-Journoud, Jacques Sivan, Vannina Maestri, Bhanu Kapil, Virginie Poitrasson, Frédéric Forte, Christophe Marchand-Kiss, Marie-Céline Siffert, Martin Richet, Michelle Noteboom, Laura Mullen and to such publishers who have radicalized the accessibility of avant-garde poetries, such as Al Dante, POL, or Green Integer/Sun & Moon. This talk concluded by asking and reflecting on the question: Have such publishing practices created not only domestic webs of contacts in the USA, thus co-publishing opportunities and readership, but even international ones?
"
Publisher-authors included Lyn Hejinian (Atelos and Tuumba Press), Julie Carr (Counterpath Press—with Tim Roberts), Jérôme Mauche (Les Petits Matins), Cole Swensen (La Presse—publishing only translations from the French), Pascal Poyet (contrat maint), Charles Alexander (Chax Press), Brenda Iijima (Yo-yo labs), Tracey Grinnell (Litmus Press), Joshua Clover (**), Dan Machlin (Futurepoem Books), Michaël Batalla (éditions du Clou dans le Fer, collection expériences poétiques), Vanesse Place (Les Figues Presse) and Susana Gardner (Dusie Press, based in Switzerland).
Supplemental questions were be posed to a handful of poets who have published with these presses and/or other small presses and who have also later had the opportunity (or wish to) to see their work taken by mainstream or wider-distribution presses, such as Barrett Watten, Carla Harryman, Alice Notley, Susan Howe, Claude Royet-Journoud, Jacques Sivan, Vannina Maestri, Bhanu Kapil, Virginie Poitrasson, Frédéric Forte, Christophe Marchand-Kiss, Marie-Céline Siffert, Martin Richet, Michelle Noteboom, Laura Mullen and to such publishers who have radicalized the accessibility of avant-garde poetries, such as Al Dante, POL, or Green Integer/Sun & Moon. This talk concluded by asking and reflecting on the question: Have such publishing practices created not only domestic webs of contacts in the USA, thus co-publishing opportunities and readership, but even international ones?
"
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When asked to write an essay on experimental filmmaker Chris Marker, poet Susan Howe discovered the poetic documentary and went on to write “Sorting Facts: or, Nineteen Ways of Looking at Marker” her autobiographical critical essay on... more
When asked to write an essay on experimental filmmaker Chris Marker, poet Susan Howe discovered the poetic documentary and went on to write “Sorting Facts: or, Nineteen Ways of Looking at Marker” her autobiographical critical essay on Marker, herself, the death of her recent husband photographer David Von Schlegel, but also on poetry in general and on her own poetics and philosophy of poetry. Howe’s essay retains a certain interdisciplinary focus, constantly shifting gears between critical and poetic, personal and academic discourse. Formally, it incorporates both prose linings, line breaks and collage use. Hers is the poetry essay which, like poetry itself, encompasses the world, enfolding the multiplicities of the universe which make poetry the challenge it is to speak about. As such, this talk will explore the kinds of movement which take place in “Sorting Facts”. It will discuss what this essay and its form have to reveal to us about modern and postmodern discourse, poetic practice, and that of the written word in a world increasingly dominated by the moving image. This talk will end by demonstrating how this essay is part of a trend among contemporary American experimental poets to write autobiography unconventionally in poetic essays which address the personal, professional (meaning the practice of writing) and the critical.
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Book review of Donna Stonecipher's poetry collection Model City (Bristol, UK: Shearsman Books, 2015) in Jacket2 magazine.
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Book review for Drunken Boat magazine of the prose poetry collection "Sir" by HR Hegnauer (Yo-Yo labs, 2013).
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To celebrate my 10th column "Of Tradition and Experiment" for Tears in the Fence magazine, I did "a roundup of 5 excellent small press publications" including : Afton Wilky's Clarity Speaks of a Crystal Sea (Flim Forum, 2014), The First 4... more
To celebrate my 10th column "Of Tradition and Experiment" for Tears in the Fence magazine, I did "a roundup of 5 excellent small press publications" including : Afton Wilky's Clarity Speaks of a Crystal Sea (Flim Forum, 2014), The First 4 Books of Sampson Starkweather (Birds LLC, 2013), Matvei Yankelevich's Alpha Donut (United Artists Books, 2012), Laurie Price's Radio at Night (Lunar Chandelier Press, 2013) and Jackqueline Frost's You Have the Eyes of a Martyr (O'Clock Press chapbook). The article closes with a few honorable mention notes and comments on other poets whose work is well worth the read. Review published in Tears in the Fence, N° 59, Dorsett, UK, April/May 2014, pp 116-126.
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A response to The Last Vispo Anthology, examining up close a select number of works (by Spencer Selby, Fernando Aguiar, Satu Kaikkonen, Oded Ezer and Jim Andrews). This review closes with some thoughts on 2 French anthologies and... more
A response to The Last Vispo Anthology, examining up close a select number of works (by Spencer Selby, Fernando Aguiar, Satu Kaikkonen, Oded Ezer and Jim Andrews). This review closes with some thoughts on 2 French anthologies and questions regarding the nature and definition(s) of visual poetry tody.
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A volume carefully edited by Gammel and Zelago with value to critics, art historians and literary scholars interested in international avant-garde creative explorations at the turn of the 20th century. This book review attempts to touch... more
A volume carefully edited by Gammel and Zelago with value to critics, art historians and literary scholars interested in international avant-garde creative explorations at the turn of the 20th century. This book review attempts to touch on the finer aspects of the collected work of Elsa von Freytag Loringhoven as gathered together and attentively ordered and contextualized in this 2011 MIT Press edition.
Research Interests: Media and Cultural Studies, Art Theory, Poetry, Diaspora, Transnational Feminism, and 11 more20th century Avant-Garde, Structural Anthropology, Dadaism & Surrealism, Pshycology, Elsa von Freytag Loringhoven, 20th and 21st Century Literatures of Immigration and Exile, East Central European Dissidence, Studies of Migration and Sexuality, Thinking Images, Dada/Surrealism, and Rites of Passage. Deconstruction
A review of Habib Tengour's "Crossings" (Post-Apollo Press, 2013) translated into English by Marilyn Hacker.
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A review of Jennifer Karmin's '4000 words 4000 Dead & Revolutionary Optimisim / An American Elegy: 2006-2012'
Research Interests: Visual Studies, Art History, Art Theory, Interdisciplinarity, Contemporary Art, and 16 morePoetry, Politics and Literature, Gender, Culture, Artists' Books, Text And Image, Artistic Research, Art writing, Iraq War Literature, Curation, Jennifer Karmin, Sona Books, Jill Magi, Writing in Visual Art, Artists’ Books, and Art ‘beyond the gallery’
Research Interests: Comparative Literature, Postmodernism, Contemporary Literature, Conceptual Art, Experimental Literature, and 6 morePostmodern Literature, Postmodern Literary Theory and Popular Culture, Conceptual writing, Experimental Writing, Experimental Writing, Creative Writing Workshops, and Avant-Garde Texts, and Conceptual Literature
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When asked to write an essay on experimental filmmaker Chris Marker, poet Susan Howe discovered the poetic documentary and went on to write “Sorting Facts: or, Nineteen Ways of Looking at Marker” her autobiographical critical essay on... more
When asked to write an essay on experimental filmmaker Chris Marker, poet Susan Howe discovered the poetic documentary and went on to write “Sorting Facts: or, Nineteen Ways of Looking at Marker” her autobiographical critical essay on Marker, herself, the death of her recent husband photographer David Von Schlegel, but also on poetry in general and on her own poetics and philosophy of poetry. Howe’s essay retains a certain interdisciplinary focus, constantly shifting gears between critical and poetic, personal and academic discourse. Formally, it incorporates both prose linings, line breaks and collage use. Hers is the poetry essay which, like poetry itself, encompasses the world, enfolding the multiplicities of the universe which make poetry the challenge it is to speak about. As such, this talk will explore the kinds of movement which take place in “Sorting Facts”. It will discuss what this essay and its form have to reveal to us about modern and postmodern discourse, poetic practice, and that of the written word in a world increasingly dominated by the moving image. This talk will end by demonstrating how this essay is part of a trend among contemporary American experimental poets to write autobiography unconventionally in poetic essays which address the personal, professional (meaning the practice of writing) and the critical.
Research Interests:
Change of Scenery: The Case of from UNINCORPORATED TERRITORY [Lukao] by Craig Santos Perez ABSTRACT: This study focuses on Craig Santos Perez, author of the tetralogy from Unincorporated Territory (1. [Hacha], 2. [Saina], 3. [Guma’] et... more
Change of Scenery: The Case of from UNINCORPORATED TERRITORY [Lukao] by Craig Santos Perez ABSTRACT: This study focuses on Craig Santos Perez, author of the tetralogy from Unincorporated Territory (1. [Hacha], 2. [Saina], 3. [Guma’] et 4. [Lukao]). In this work, Perez attempts to decode a place for the territory of Guam—this almost forgotten island, quasi-erased from maps, whose existence has been troubled a series of colonizations (Spainish, Japanese, American). The cultural disorientation (for the author, a brutal uprooting by the erasure of his ancestral culture and language as well as the destruction of the natural environment on his island) is born out of the radical mutation of this « home » beginning with the name of the place itself : Guam, Guma, Guåhan... Taking as example for this study from Unincorporated Territory [Lukao], the final book in Perez’s tetralogy, the following article explores the elements which connect the real (autobiographical) landscapes of Guam and d’O...