Unlike many New Zealand poets of his generation, Michael Steven is not part of the literary establishment. Steven has been writing and performing poetry in New Zealand “in fits and starts”[i] for more than twenty-five years, but has not pursued an MA in creative writing or yet published a monograph with a university press.
If epic is a story of the community for the community, then Event Factory asks the contemporary reader to consider: How does one tell the tale of the community now? In the place of a sure narrative about a place and its people, Renee Gladman’s text presents ambiguities — palpable, permeating, and resonant — that refuse to resolve or settle.
This is a fifteen-minute excerpt from a fifty-four-minute event featuring Alan Bernheimer on multilingual poetics — on January 17, 2017, at the Kelly Writers House, in a series curated by Ariel Resnikoff. The excerpt features the session’s Q&A.
Alan Bernheimer responds to questions about his translation of Philippe Soupault’s, Lost Profiles: A Memoir of Cubism, Dada, and Surrealism, which was published in November by City Lights. The book is a retrospective of a crucial period in modernism, written by a co-founder of the Surrealist movement. The video below is a fifteen-minute excerpt from a fifty-four-minute-long program held at the Kelly Writers House on January 17, 2017.
Post-ecopoetics is about the art of writing and reading through a damaged ecopoetics. It is the art of writing and reading when we still had summer arctic polar ice and most of the world’s coral colonies. Part of the inspiration for this project comes from Donna Haraway’s new book Staying with the Trouble, where she calls for “arts of living on a damaged planet” as a way to begin to confront the Anthropocene and focus on making its tenure brief.