A note on: a new course at Tate Modern - Inventing Rauschenberg


Over five weeks explore the pioneering art of Robert Rauschenberg with the like-minded artist and poet SJ Fowler - Through talks, discussions and practical writing exercises, participants will follow Robert Rauschenberg’s innovations fundamental to twentieth-century art, while surrounded by his work. Inspired equally by poetry, fiction, theatre, sonic art, visual art, installation and performance, Fowler will also draw from the people and places that inspired Rauschenberg’s remarkable and multidisciplinary practice. http://www.tate.org.uk/whats-on/tate-modern/course/robert-rauschenberg/inventing-rauschenberg-artist-engineer

Discover Rauschenberg’s use of material, his ground-breaking combines, his engagement with popular and global culture beyond the US, his exploration of collaboration at the Black Mountain College, his work in performance, and his telling use of technology. This course is a chance to trace this pioneering artist’s life and continued reinvention, and to explore in their own work the lessons we can draw from his extraordinary legacy.

A note on: A performance for Jerome Rothenberg

What an immense pleasure this was. To have the chance to celebrate Jerome Rothenberg, his influence on me, and on so many people, it was a beautiful night all told. 

The event was held at Birkbeck College, London, hosted by the Contemporary Poetics Research Centre (www.bbk.ac.uk/cprc) on October 17th 2016. Organised by the centre's director, Dr. Steve Willey.

For my performance I carefully selected poems taken from Rothenberg's 1974 collection Poland/1931 and 1978 collection Seneca Journal and after much deliberation, I interspersed them with my own poems that responded / related to these works as influences. In the live performance, the poems were glued to paper to form two long poems, and then illustrated. Then for the last few minutes, wonderfully, Jerome joined me in the painting.

I had the pleasure to then spend a day with Jerome and his wife Diane in London and really feel inspired and humbled by their extraordinary lifetime of travelling, writing and following a path any of us would be lucky to follow. 

Upcoming: a language art - a course at Tate Modern

A Language Art: a course at Tate Modern

Avant-garde Poetry & Modern Art, in the galleries

Mondays, 26 October – 30 November 2015, 18.45–20.45,
session on Monday 9th November at Tate Britain
£150, concessions available

Book online using this link: http://www.tate.org.uk/whats-on/tate-modern/courses-and-workshops/language-art-avant-garde-poetry-and-modern-art

I'm delighted to be leading a course for Tate Modern this winter, where over six weeks, we will explore the intersections between the post-war traditions of modern art and avant-garde poetry.

Discovering poets and artists from the Tate collection who make use of language, sound, space, printing and writing, this course reveals how these practises are fundamental to both arts. A detailed course breakdown is available here: http://www.stevenjfowler.com/alanguageart/

Sessions are based within the galleries of Tate Modern in the presence of works by Gerhard Richter, Li Yuan-Chia and RB Kitaj amongst others, which bring to light some of the great moments in modern art and poetry that have enriched the traditions of both writing and art-making. Each week participants are also introduced to contemporary examples of work inspired by those held in the Tate Collection, as well as encouraged to create and share their own avant-garde poetry and text art in the extraordinary environment of the museum. One session is held at Tate Britain and includes the chance to explore Tate’s Prints and Drawings Rooms.

This course is for people interested in developing their own skills and understanding of experimental poetry and modern and contemporary art practises, and the onus of the course is on how these great moments in modern art and poetry can enrich writing and art-making practise, rather than dense historical analysis. It’s a rare chance to excavate avant- garde poetry in such a setting, and each week participants will have the chance to create new works in the extraordinary environment of the Tate Modern’s galleries.

Kakania at the Freud Museum - Jan 22nd

In just under two weeks time, on January Thursday 22nd, I’m delighted to say Kakania will once again feature contemporary artists and poets presenting original commissions on the life & work of a figure of Habsburg Vienna from one century ago. This time Kakania will be in the extraordinary setting of the Freud Museum, with the artists performing their works in the rooms of what was once the house of Sigmund Freud in north London. The audience will tour with the artists, going room to room, as each performance unfolds. 

Spaces are limited and the event is ticketed, so please do book using this link: http://www.freud.org.uk/events/75773/kakania/

 Directions to the Freud Museum can be found here: http://www.freud.org.uk/visit/

The lineup:
Emily Berry on Sigmund Freud
Esther Strauss on Anna Freud
Tom Jenks on Otto Gross
Jeff Hilson on Ludwig Wittgenstein

& Phil Minton on Carl Jung

I’m happy to announce the final details and lineups for the third and fourth Kakania events to take place in February and March. Please pop them in your diaries. 

Kakania III at the Horse Hospital - February thursday 19th
Caroline Bergvall on Gustav Klimt
Martin Bakero on Arnold Schoenberg
Colin Herd on Oskar Kokoschka
Marcus Slease on Max Kurzweil
Damir Sodan on Gustav Mahler
Joerg Zemmler on Karl Kraus

Stephen Emmerson on Rainer Maria Rilke 

Kakania IV at the Austrian Cultural Forum – March Thursday 26th
George Szirtes on Arthur Schnitzler
Ben Morris on Ernst Krenek
Joshua Alexander on Paul Wittgenstein
Thomas Duggan on Ernst Mach
Fabian Faitlin on Otto Wagner
Stephen Emmerson on Rainer Maria Rilke
Jeff Hilson on Ludwig Wittgenstein
Emily Berry on Sigmund Freud
Colin Herd on Oskar Kokoschka

The Freud Museum event will also be the first time the two ambitious Kakania project publications will be available, with both books to have specific launches later in the program. Both have been designed by http://www.polimekanos.com as part of the Austrian Cultural Forum’s Occasions series. 

Oberwilding is a collaborative poetry collection, written by Colin Herd and I, with a poem marking each year of Oskar Kokoschka’s life - an avant garde exploration of the great painters century in collaborative, experimental poetics.

Kakania: an anthology is a groundbreaking collection of brand new works from 40 amazing artists and poets, that features poetry, portraiture, woodcuts, conceptual texts, photography, graphic design and a multitude of arts and artists. It contains work by: 

George Szirtes on Arthur Schnitzler, Martin Bakero on Arnold Schoenberg, Emily Berry on Sigmund Freud, Stephen Emmerson on Rainer Maria Rilke, Colin Herd on Oskar Kokoschka, Sharon Gal on Anton Webern, Jeff Hilson on Ludwig Wittgenstein, Tom Jenks on Otto Gross, Maja Jantar on Lou Andreas-Salome, David Kelly-Mancaux on Egon Schiele, Diane Silverthorne & Ariadne Radi Cor on Alma Mahler, Dylan Nyoukis on Raoul Hausman, Damir Sodan on Gustav Mahler, Marcus Slease on Max Kurzweil, Joerg Zemmler on Karl Kraus, Michael Zand on Hugo von Hofmannstahl, Jaime Robles on Ludwig Boltzmann, Alison Gibb on Bruno Walter, Pascal O'Loughlin on Wilhelm Reich, Vicky Sparrow on Margarethe Wittgenstein, Kim Campanello on Alban Berg, Jack Little on Peter Altenberg, Eley Williams on Broncia Koller-Pinell, Andy Jackson on Oscar Straus, JT Welsch on Hermann Broch, Fabian Peake on Franz Werfel, Aki Schilz on Hermann Bahr, Fabian Faltin on Otto Wagner, Iain Morrison on Alexander von Zemlinsky, Clare Saponia on Julius Wagner-Jauregg, Rhys Trimble on Felix Salten, myself on Robert Musil, Robert McClean on Max Reinhardt, Ryan Van Winkle on Ernst Weiss, Andrew Spragg on Koloman Moser, Peter Jaeger on Theodor Herzl, Nia Davies on Viktor Ullman and Esther Strauss on Anna Freud.

All Kakania events, including this next one at the Freud Museum, will also feature the beautiful books of Pushkin press, with a book table to peruse, accompanied by a Kakania flyer which offers a discount on buying their Habsburg era books online. http://pushkinpress.com/

www.kakania.co.uk / www.stevenjfowler.com

& with thanks to the Austrian Cultural Forum http://www.acflondon.org/

Christodoulos Makris' article on contemporary Irish avant garde poetry

http://jacket2.org/article/monoculture-beer-no-more a few excerpts of a brilliant and timely article

a criticism of performance poetry everywhere is that it suffers from an anti-intellectualist attitude, which leaves the work rooted in the safe realm of the populist. Another is that it places too much emphasis on identity writing with an over-reliance on flourish or a clearly defined, easy-to-follow narrative. Essentially, on manipulating its audience into assent. These are fair criticisms to extend to the Irish spoken word scene. In general, an easily identifiable agenda surrounds the performance poem in Ireland. It brooks no uncertainties regarding its ideological position. In its eagerness to become understood and accepted at once, it eschews nonlinearity or complexity and aims to flatten experience into a series of cause and effect connections. A sense of interrogation taking place in the process of composition is lost through its collapse into a single dimension.

*  With concrete or visual, sound, and, especially, forms of poetry that make use of conceptual writing strategies having remained stubbornly rare in Ireland, it’s mystifying how little attention has been paid to poets who have at one time or another adopted them. Evidence that, when prompted, writers here would be keen to engage more with experimental writing processes was seen during the UpStart collective’s poster campaign in the run-up to the February 2011 general election. Many of the text-based material erected then among the party political posters were clear examples of concrete or conceptual poetry. Context and medium were crucial; these were understood, by their authors and readers/viewers, as forms of slogans, with questions of politics, protest, public art, and temporariness vital to their acceptance as poetry.

Why I am excited for Yes But Are We Enemies? an outside view of Irish poetry

I've had the great fortune to travel during my life, and recently (perversely) often through poetry. Yet, I've never been outside of Dublin in Ireland, never been outside of Belfast in Northern Ireland. Moreover, when I've spent time in Manchester and Edinburgh, and made public my admiration for the depth and consideration of the poetry scene in both those places, centred on, but not exclusive to, the Other Room and Caesura, so those local to the place have expressed surprise that I should feel that way so vehemently. What was most often said of the Auld Enemies grand show success at Summerhall in Edinburgh just last month was that only an outsider could've had a hand in such an event coming together. So my being an outsider to Ireland has allowed me to watch, over the last year or two, a distinct and decisive blossoming of extraordinary writers, poets, editors and curators coming out of those nations. It is too frequent that a poet of quality, that I will then go on to watch for, to invite, to follow, will come out of the Irish nations, that it might be an accident. 

Darran Anderson was my predecessor at 3am magazine, to him I owe the job of poetry editor there, and much more besides. His writing, and the clear energy of literary impetus is extraordinary. http://darrananderson.com/ Susan Tomaselli has been doing for me, for my repute as it were, what often poets long for and few get, actual consideration and unexpected support. Her work with Gorse is nothing but a revelation, it is a singular project, and a magazine I will submit to for every issue, fail and or succeed. http://gorse.ie/ Michael Shank's Bohemyth is another extraordinary publication, genuinely marked out from its peers by its intensity and width, and the editorial care that Michael selflessly throws into it. http://thebohemyth.com/ Colony is an outstanding publication too, edited by a team that includes Kim Campanello, Dave Lordan, Anamaria Crowe Serrano and Rob Doyle, all of them authors whose work represents the quality of the magazine. http://www.colony.ie/ Kim herself represents the depth of connection to Ireland that currently resides in London, and has informed and expanded, palpably, the scene I am actively a part of. Pascal O'Loughlin, Robert Kiely, Stephen Mooney, Sarah Kelly, Becky Cremin, Philip Terry ... all hold Irish passports of one kind or another, all are brilliant, and perhaps united, by being profoundly underappreciated. I'll say nothing of whether the famous Irish poets of the last half century have strangled any appreciation for just how inventive and truly Avant Garde Irish poetry is and has been, as I'm not Irish and I don't know enough. What I do know, with absolutely certainty, these poets, above and below, are extraordinary, and aren't considered so by more than a few hundred people. If this project makes it a thousand (or two), then I'll sleep better.

& Rob Doyle, whose book sits on my shelf, recently catapulted quite deservedly (and all the more rarely for that fact) into a literary exposure I could not have been more pleased to watch happen http://robdoyle.net/ There's Aodan McCardle, who I saw perform in London before I published a poem, who leaves behind him here, while making similarly important work in Ireland, a legacy that generations will remember in Veer press. There's James Cummins, who I saw storm up Prague this May. There's Stephen Connolly, who I've had the pleasure to publish and invite to read in London, who is markedly, no matter where he might be from, one of the more generous and intelligent younger poets working today. There's Damian Smyth, a more open and supportive curator I have yet to come across from the distance I have been lucky enough to know him so far. There are these names, and so many more, whom I have read and whom I have the pleasure and privilege of meeting in the latter half of September - Kit Fryatt, Cal Doyle, Eleanor Hooker, Ailbhe Hines, Doireann Ni Ghriofa, James King, and many others,  please search them out, you will be better for doing so. 

I will not yet write about my co-tourees, Sam Riviere, an old friend who lives in Belfast, Ailbhe Darcy, Billy Ramsell, Patrick Coyle, as I will have plenty of time to do so during my tour diaries and this is about what is in front of me, that which is happening in Ireland now. But I will finish by speaking of Christodoulos Makris, someone who I'm very proud to say has become a friend since I interviewed him for my Maintenant series a fair few years ago now. I could not have found a better and more responsible and generous co-curator and collaborator for this project. He has managed to be so many things at once, in his work and in his person, humorous and warm, yet dignified and serious, experimental and innovative, and yet never trenchant or posturing, Irish and Cypriot, and yet neither / both of these. His recent work is up on 3am http://www.3ammagazine.com/3am/chances-are/ Have a look at 'Chances are' and the poetry of it speaks up itself. 

This is the right time to be exploring Ireland, and not just through poetry, but through collaboration in poetry, something that forces creative sociality, friendships, communication and bonds, made face to facem that I hope, being relatively young in my life, will last many decades into the future

Auld Enemies: a documentary on poetry, touring, Scotland & collaboration

What this means to me, Ross Sutherland's generous, technically excellent and warm hearted documentary of our Auld Enemies tour of Scotland, is quite significant. It's the most apt testament to what we did, in it's humour and flow and deference, and its so rare to have something concrete, something that will last, that somehow captures one of these poetry things I've been experiencing in the last year. So many times, like with my visits to Iraq, Mexico, Denmark, Venice etc.. in the last year, the experience feels so intense, so wonderful at the time that I know I'll remember it so fondly, and it'll be so significant to me, and yet there is only the work itself and the memory left. Which is a good thing. Yet when I confront this documentary, see what it stands for, for me, I am left feeling very grateful, very humbled that I might get to relive something very special, in the years to come, through it's being watched. 

Chinese avant garde poetry at the Poetry Cafe - June 18th

Really honoured that Ill be reading the English translations of Jiang Tao's work at the Poetry Cafe. Come along to this free event, and get a small insight into contemporary experimental Chinese poetry. http://www.poetrysociety.org.uk/events/event/2696/


One Hundred Years of New Poetry in China

Visiting poets from China will read their poems and discuss their work. Featuring Jiang Tao and Ming Di.
Organised in association with Oxford Brookes University, it will be introduced by Jennifer Wong, a first year PhD student at Oxford Brookes University, studying contemporary Asian diaspora poetry and the power of ethnicity. S J Fowler will read from Jiang Tao's work and Jennifer Wong will also read some of her poetry.

Ahsan Akbar talks 21st century British poetry in the Dhaka tribune

I had to pleasure or corresponding with Ahsan Akbar recently over an article he was penning for the Dhaka Tribune about contemporary British poetry and the trends, or lack of, that define this moment in poetry when Im about and abounding. It's a really fine article, and Ahsan was kind enough to use a little fragment of my Recipes book taken from the Dear world anthology edited by Nathan Hamilton. 

In the collection, the poets who rang my bell were SJ Fowler, Rachael Allen, Sandeep Parmar, Sam Riviere and Joe Crot. From Fowler’s ‘Recipes,’ we get lines that take you far from gastronomy, such as
(from a recipe for Caeser Salad)
a weak wrist, nobel peace prize for two Liberian women
a suckling fix, cutting it out of the stomach to determine its gender
a limp salad marriage;
You can read the article here http://dhakatribune.com/arts-amp-culture/2014/mar/02/letter-london & the whole issue http://www.dhakatribune.com/sites/default/files/issue/2014/03/Arts_&_Letters_2_3.pdf.pdf

An interview with the Poetry school for my upcoming course Maintenant

http://campus.poetryschool.com/maintenant-interview-s-j-fowler/ Text below taken from the beautiful Campus layout the Poetry School has set up, very generous interview on their part...
Has any other poet thrown himself into curating and collaboratively creating contemporary poetry with the same enthusiasm as S J Fowler?
Publishing five collections in three years is an achievement in itself, but there’s also something admirable about the way he draws other artists and poets into his creative orbit, whether that be by collaborating with them as part of his Enemies project, (which culminated in the Enemies book, published by Penned in the Margins), publishing them in 3:AM Magazine, or interviewing them for his Maintentant series, now almost at a hundred articles. Students on his spring term course, also called Maintenant!, will become part of his collaborative circle, writing poems inspired by key 20thcentury experimental poetry movements and performing them at an end of term reading. We asked Steven for advice on exploring experimental poetry and collaborating fruitfully…
Your course will be covering Oulipo, Austrian postwar modernism, concrete poetry, CoBrA and the British Poetry Revival. Can you explain how you came to be interested in these movements?
S J: I think because I came to poetry quite recently, only four years ago really, and very much fell into it, my reading habits, my influences, are not really formulated along formal lines. I wasn’t handed classical poetry as a child, didn’t listen to whatever was taught at school, didn’t grow up valuing a certain tradition or style or form, I have just read continuously, whatever I could where I could. For years I was completely isolated in my reading too, being led into it by philosophy, which I studied, and as such I was in a bubble, didn’t have the chance to develop any sense of prejudice against poetry in translation, or avant garde work, as somehow otherly. That’s perhaps why I read this kind of work alongside poetry that might be better known in this country in equal measure.
Moreover, each movement that I’m going to be covering in the course has its own special place in my own development as a poet. The Oulipo showed me how structural freedom can actually be more restricting than formal structures and concepts, because that freedom is mediated by very specific influences and tropes. Austrian postwar modernism is the example par excellence of avant garde writers writing for a purpose, and not as a self-indulgent stance against something, and that is to expose the ever present instincts of fascism in a nation that had tried to plaster over in immediate history and responsibility. Concrete poetry showed me that language is not mediated only by its content, but by its appearance, by the material it appears on – it has multiple dimensions, it is art as well as language. CoBrA really exemplifies the very best of what post-war European poetry aims to achieve – collectivity, collaboration, dynamic experimentation. And the British Poetry Revival, well this was a seismic discovery for me. An entire legion of incredible writers, writing about my country, writing works of genius, completely hidden from the mainstream reader.
In the course description it says that the techniques used by the poets you’ll be covering can, ‘compliment, rather than antagonise, more formal writing practice’. Could you expand on what you mean by that?
S J: I think there’s a territorial, self-defeating dualism that seems to permeate through people’s perception of the experimental, that it requires a philosophical or political praxis to be part of their writing. That it is against something, more than it is for something. This isn’t true, fundamentally. Experimentation is about finding the authentic way to express a very certain content. And that’s why a lot of formal poems fail in my opinion, because they are using the wrong form, because it is familiar or it is all the writer knows, to express their content. I hope to just humbly, gently, suggest that these movements show us new worlds of form and method toward content we might want to access and express.
You’re responsible for the Enemies collaboration project – will you be encouraging poets to collaborate on this course?
S J: Absolutely. It is wholly beneficial for any poet to engage in collaboration in my opinion, it allows one to step beyond one’s comfort zone, it forces the poet to be generous and generative and it mediates sociality beautifully, through the creative act. Plus you can blame failures on the other person! Best not to say this out loud of course. I hope the class will be defined by an atmosphere of communication, exchange and that the collaborations will be utterly organic, the genus being in the shared new ideas and discoveries which happen for everyone in the room.
In the Enemies book, was it a purposeful decision not to demark whose contribution is whose in many of the projects? What effect do you think this has?
S J: It was, and in the most instinctual way, this was primarily to commit to the work as a wholly new thing, a child of two poets, and not the spliced remnants of two individuals. So much of the poetry in Enemies, I really can’t remember whose line is whose. This is the most beautiful rediscovery, to have given so much to the style and brilliance of another writer that you and they are entwined in the work toward the same goal. I hope the effect of this is for readers to be taken by the content and not the authorial presence, which is often an obscuring force, a context we can rarely remove.
Why do you think collaborations succeed or fail? Do you have any tips for successful collaborating?
S J: It’s all about generosity as a mode, about perspective, and I think it goes right to the roots of one’s view on aesthetics, on poetry and its purpose, and one’s view of communication. If you see poetry as a reflection of your external experiences, internalised through the unique nexus of your millions of experiences and emotions and knowledge, then the act of collaboration is replacing the stimulus of your life with the specified stimulus of another human being, and their unique way of refracting the world. It becomes very easy to allow this to move you. If you see poetry as the effect of a muse like inspiration on your defined subjective soul or being, then you’ll probably want to protect that ‘inspiration’, and you won’t be so free to share, sacrifice and risk. Collaboration is all about generosity, it is an act of giving, a process of sacrifice.
When you collaborate with an artist, is it always a case of the images already existing and you responding to them, or have you worked in other ways?
S J: Every collaboration has been completely different. I’ve perhaps undertaken about 70 different collaborations to date, across every medium I could, and each time I try to get the collaborator to build the process with me, and to let them begin. I worry I can be a demonstrative person at times, overbearing, so I try to impose a deference upon myself when collaborating, and so far, it seems to be a good instinct. With visual images, photography and art as the like, often it does become tennis, but as often as not, it is my poems which generate their art, as well as their images generating my poetry.
I’ve always struggled to write poems that respond to visual images, do you have any advice for poets who want to respond to visual art in an original way?
S J: Being fidelitous to the grammar of visual images can’t be literal. One has to be familiar with the process of the artist or photographer, even if in the most material or shallow manner, and then, most importantly, what their intention is. Often the physical result does not achieve the intention for you, or for other viewers of the work. But if one then approaches that intention from your own poetic, your own abstract understanding, then a natural kinship will develop. I think so anyway. Museum of Debt, which is in Enemies, features portraits of museum workers by Alexander Kell, and Alex and I had both worked at that Museum, we didn’t even need to talk, we both created at the same time, with no dialogue, and the images and the poetry is imminently fused. It is about boredom, about the quiet desperation of a job that leads nowhere. The subject spoke, our intention was entwined.
Tell me more about the event that your students will have the opportunity to read at…
S J: It’s a very exciting programme. Three of the most innovative poets in Europe, Cia Rinne, Morten Sondergaard and Martin Glaz Serup will be visiting London for a week, for events with Rich Mix arts centre, in Brick Lane, and for an exhibition at the Hardy Tree gallery in Kings cross. The Danish agency for culture are supporting the venture, called Fjender, part of my Enemies project. They will be collaborating with myself and two other British based poets, and thanks to the Arts Council here I will be visiting Copenhagen to read our collaborations in Denmark too. The students will get to read on the big night in London, share some of their work with those poets and the public, if they want to.
Can you think of any good anthologies our students could buy to familiarise themselves with some of the poets you’ll cover? Or any good sources of information online, (aside from your wonderful Maintenant series of interviews)?
S J: Certainly, I can never speak highly enough of the Poets for the Millenium anthologies, by Jerome Rothenberg and Pierre Joris. Get the first two volumes. Mind blowing, the scope and the width of the poets and the superlative editorship, this is what anthologies should be. Online, check out www.lyrikline.org. Quite formal poets, but a great resource for translated work across languages. Also Ubuweb, if you haven’t been on there, well that’s a good ten years of material for all of us.
If you think you could do with catching some of Steven’s contagious enthusiasm, you can book your place on Maintenant! online, or call 0207 582 1679.

Will Alexander reading at Birkbeck, London - Dec 2nd

Birkbeck Contemporary Poetics Research Centre is delighted to welcome Will Alexander. A rare chance to hear him read in London. Monday 2 December, Keynes Library, 43 Gordon Square, WC1, 7pm. All welcome.
Los Angeles poet Will Alexander works in multiple genres: the novel, essay, aphorism, play, philosophy, visual art, and music (as pianist). His influences range from poetic practitioners, such as Aimé Césaire, Bob Kaufman, Andre Breton, Antonin Artaud, and Philip Lamantia, to the encompassing paradigm of Sri Aurobindo’s Integral Yoga, and the Egyptian worldview as understood by Cheikh Anta Diop and R.A. Schwaller de Lubicz. His work explores the fields of art, physics, botany, history, astronomy, architecture, and poetics, amongst others. Alexander’s books include Kaleidoscopic Omniscience, Asia and Haiti, The Sri Lankan Loxodrome, Compression and Purity, Sunrise In Armageddon, Diary As Sin, Inside the Earthquake Palace, Towards The Primeval Lightning Field, and Mirach Speaks To His Grammatical Transparents. His collected essays, Singing in Magnetic Hoofbeat (Essay Press, 2013) received an American Book Award from the Before Columbus Foundation. 

Enemies: Contemporary Poetics Research Centre

Really hot, really well attended - a beautiful atmosphere of exchange. The reading celebrated the groundbreaking Contemporary Poetics Research Centre at Birkbeck College, University of London, a rare academic entity which facilitates the research and understanding of innovative and dynamic poetry happening in the present day. http://www.bbk.ac.uk/cprc/