Evan Lavender-Smith was born in Iowa in 1977. He attended the University of California at Berkeley and New Mexico State University. He is the author of From Old Notebooks (Blazevox, 2010) and Avatar (Six Gallery Press, 2011), Editor-In-Chief of Noemi Press, and Prose and Drama Editor of Puerto Del Sol. His writing has recently appeared in Fence, No Colony, Post Road, and Evergreen Review. He is Visiting Assistant Professor of English at New Mexico State University. He Lives in Las Cruces, New Mexico.
Carmen Giménez Smith is the author of a memoir, Bring Down the Little Birds, four poetry collections— Milk and Filth, Goodbye, Flicker, The City She Was, and Odalisque in Pieces. She is the recipient of a 2011 American Book Award, the 2011 Juniper Prize for Poetry, and a 2011-2012 fellowship in creative nonfiction from the Howard Foundation. Formerly a Teaching-Writing Fellow at the Iowa Writers’ Workshop, she now teaches in the creative writing programs at New Mexico State University, while serving as the editor-in-chief of the literary journal Puerto del Sol and the publisher of Noemi Press.
New Writing Series readings by Michael Davidson and Rae Armantrout, April 10, 2013
Michael Davidson is a University of California, San Diego Distinguished Professor. He is the author of The San Francisco Renaissance: Poetics and Community at Mid-Century(Cambridge U Press, 1989), Ghostlier Demarcations: Modern Poetry and the Material Word(U of California Press, 1997), Guys Like Us: Citing Masculinity in Cold War Poetics (U of Chicago, 2003). and Concerto for the Left Hand: Disability and the Defamiliar Body (U of Michigan, 2008). His most recent book, Outskirts of Form: Practicing Cultural Poetics was published in 2011 by Wesleyan University Press. He is the editor of The New Collected Poems of George Oppen (New Directions, 2002). He is the author of five books of poetry, the most recent of which is The Arcades (O Books, 1998). He is the co-auathor, with Lyn Hejinian, Barrett Watten, and Ron Silliman, of Leningrad (Mercury House Press, 1991). He has written extensively on disability issues, most recently “Hearing Things: The Scandal of Speech in Deaf Performance,” in Disability Studies: Enabling the Humanities, Ed. Sharon Snyder, et al (Modern Language Association, 2002), “Phantom Limbs: Film Noir and the Disabled Body,” GLQ 9:1-2 (2003), Universal Design: The Work of Disability in an Age ofGlobalization, The Disability Studies Reader, ed. Lennard Davis (Routledge, 2010), and “Pregnant Men: Modernism, Disability, and Biofuturity in Djuna Barnes,” Novel 54.3 (Summer, 2010). His new and selected poems is forthcoming from Coffee House Press.
Just Saying, Rae Armantrout’s most recent book of poems, was published by Wesleyan University Press in 2013. Versed (Wesleyan, 2009), received the Pulitzer Prize and the National Book Critics Circle Award. It was also a finalist for the National Book Award. Next Life (Wesleyan, 2007), was chosen as one of the 100 Notable Books of 2007 by The New York Times. Other recent books include Money Shot (Wesleyan, 2011,) Collected Prose(Singing Horse, 2007), Up to Speed (Wesleyan, 2004), The Pretext (Green Integer, 2001), and Veil: New and Selected Poems (Wesleyan University Press, 2001). Her poems have been included in anthologies such as The Open Door: 100 Poems, 100 Years of Poetry Magazine, (Chicago, 2012), American Hybrid (Norton, 2009), Postmodern American Poetry: A Norton Anthology (1993 and 2013), American Women Poets in the 21st Century: Where Language Meets the Lyric Tradition, (Wesleyan, 2002), The Oxford Book of American Poetry (Oxford, 2006) and The Best American Poetry of 1988, 2001, 2002, 2004, 2007, 2008, 2011 and 2012. Armantrout received an award in poetry from the Foundation for Contemporary Arts in 2007 and a Guggenheim Fellowship in 2008. She is Professor of Poetry and Poetics at the University of California, San Diego. Writing in Poetry magazine, Ange Mlinko has said, “I would trade the bulk of contemporary anecdotal free verse for more incisive, chilling poetry like Armantrout’s.”
UC San Diego holds the literary papers of George Oppen (1908-1984), objectivist poet and winner of the Pulitzer Prize for Poetry in 1969. Most of the materials date from the period 1958-1978. Included are manuscripts and typescripts for all the poems contained in Oppen’s nine published books. Also included are drafts and fragments of unpublished poems, typescripts of published and unpublished essays, transcripts of Oppen’s verse, and copies of reviews of Oppen’s work. Of special interest are loose leaf pages of notes, and Oppen’s personal daybooks, all of which help to reveal his thinking about diverse subjects. The largest part of the collection consists of correspondence to Oppen from family members, editors, poets and other writers, and admirers of his work.
[Woman reading on rocking chair], by Lance Hidy, 1989
Exhibition: “A Nation of Readers”
March 18 - June 29, 2013
An exhibition of books, pamphlets, newspapers, manuscripts, and other documents, selected from the holdings of the Mandeville Special Collections Library, that illustrate the types of publications Americans have read since colonial days.
Main floor, Geisel Library
New Writing Series reading with Kate Greenstreet and Cynthia Arrieu-King
Kate Greenstreet’s new book Young Tambling will be out in January from Ahsahta Press. Her other books are case sensitive and The Last 4 Things, also with Ahsahta. Her poetry can be found in Colorado Review, Boston Review, Volt, Fence, Chicago Review, and other journals.
Cynthia Arrieu-King was raised in Louisville, Kentucky. She’s been a gopher for Mr. Rogers, a hauler at a pizza sauce factory, an echocardiographer, and is currently an assistant professor of creative writing at Stockton College. Her book People are Tiny in Paintings of China was published by Octopus Books in 2010 and her collaborative chapbook with Ariana-Sophia Kartsonis By a Year Lousy with Meteors is forthcoming from Dream Horse Press in 2012. Her poems and reviews have appeared in Boston Review, Jacket, and Witness.
New Writing Series reading with Natalia Fedorova and Vanessa Place, performed March 11, 2013.
A talk/performance by Russian videopoet and scholar Natalia Fedorova on transnational media poetics and the current state of Russian experimental media art and literature. Pussy Riot is not even the half of it.
Natalia Fedorova is a Russian new media artist, writer, literary scholar and translator. Natalia holds a PhD in literary theory from Herzen State University (St-Petersburg). She has written numerous publications on avant-garde poetry, kitetic poetry, concrete poetry, hyperfiction, literary text generators and video poetry, and is a curator and creator of VIDEO.txt, videopoetry festival in St- Petersburg. From 2011 to 2012, Natalia was a Fulbright postdoctoral researcher at the Trope Tank, MIT, and is currently a SPIRE post doctorate researcher with the ELMCIP group at the University of Bergen (Norway) and editor of e-lit and new media writing column in Rattapallax magazine (NY). Natalia is the author of a hyperfiction piece with multiple endings «7», and a boutes-rime novel Madame Ebaressa and a Butterfly, co-written with Sergeij Kitov, and a number of short prose fragments. In collaboration with Taras Mashtalir she founded Machine Libertine, a media poetry project .
Of Vanessa Place and Robert Fitterman’s Notes on Conceptualisms, Mary Kelly said, “I learned more about the impact of conceptualism on artists and writers than I had from reading so-called canonical works on the subject.” Kenneth Goldsmith has called Vanessa Place’s work “arguably the most challenging, complex and controversial literature being written today.” Rae Armantrout has said, “Vanessa Place is writing terminal poetry.” A leading practitioner of conceptual poetry, Place is also a critic, criminal defense attorney, and co-director of Les Figues Press. Place lectures and performs internationally.