Join Chicago-based independent publisher Kenning Editions authors and translators for an online reading featuring Ana Arzoumanian with Gabriel Amor, Craig Dworkin,  Alec Schumacher reading Elvira Hernández, Brian Kim Stefans reading Arthur Rimbaud, and Steven Zultanski / June 6 4:00 PM EST

Register here: https://www.eventbrite.com/e/kenning-editions-reading-part-two-tickets-107345421044

Ana Arzoumanian was born in Buenos Aires in 1962. She is a lawyer, translator, poet and essayist. Her books of poetry include Labios, Debajo de la piedra, La Jesenská, and Juana I. She has also published several books of fiction, including La mujer de ellos, Mar Negro, and La granada. She has made a documentary film about Armenian genocide and Argentinian dictatorship directed by Ignacio Dimattia in 2010, A- Diálogo sin fronteras. She has made also a documentary film about diaspora in Argentina “Acá y acullá” directed by Hernán Khourian.

Born in Galicia, Spain, Gabriel Amor has lived in New York since the age of five.  He has published translations of poetry and prose by numerous Latin American writers, and received a 2016 PEN/Heim Translation Fund grant for his work on Juana I.

Craig Dworkin is the author of The Pine-Woods Notebook, Alkali, 12 Erroneous Displacements and a Fact, DEF, and numerous other books of poetry. In addition to working as a literary critic and art historian, Dworkin teaches at the University of Utah and serves as Founding Senior Editor to the Eclipse Archive.

Alec Schumacher received his Ph.D. from the University of Wisconsin-Madison and is currently Assistant Professor of Spanish at Gonzaga University. His research focus is Chilean poetry of the neo-avant-garde, in particular, Juan Luis Martínez and Elvira Hernández. He is translator of Hernández’s The Chilean Flag.

Brian Kim Stefans is the translator of Festivals of Patience: The Verse Poems of Arthur Rimbaud, forthcoming from Kenning Editions. His books include Free Space Comix, Fashionable Noise: On Digital Poetics and Kluge: A Meditation. Also a digital artist, his work can be found at arras.net. Word Toys: Poetry and Technics appeared from University of Alabama Press in 2017.

Steven Zultanski is the author of several books, most recently On the Literary Means of Representing the Powerful as Powerless and Honestly. An excerpt of Honestly was first published as PART 3 OR 4 OF “UNFINISHED POEM IN FIVE PARTS” by Kenning Editions’ Ordinance series in 2016. A new pamphlet, Thirty-Odd Functions of Voice in the Poetry of Alice Notley, is just out from Ugly Duckling Presse. He lives in Copenhagen.

Saturday, May 23rd, 7:00 PM EST

Join Chicago-based independent publisher Kenning Editions to launch new and recent books and celebrate back titles with readings by Mayra Rodriguez Castro, Faride Mereb, Devin King, Jesse Seldess, Laura Elrick and Daniel Borzutzky.

Kenning Editions Reading

Daniel Borzutzky is the author and translator of numerous books, including Memories of my Overdevelopment, Lake Michigan, and The Performance of Becoming Human, recipient of the 2016 National Book Award for Poetry. He teaches in the English Department and Latin American and Latino Studies Program at the University of Illinois at Chicago.

Born in Bogotá, Colombia, poet and translator Mayra A. Rodríguez Castro is a former Postdoctoral Fellow at the John F. Kennedy Institute, Freie Universität Berlin. Rodríguez is the recipient of the Anne Waldman Fellowship at Naropa University (2019). She edited Audre Lorde: Dream of Europe—Selected Seminars and Interviews 1984-1992.

Laura Elrick’s books include Propagation, Fantasies in Permeable Structures, and Skincerity. A new book, What This Breathing is due out later this summer from The Elephants. She teaches writing at Pratt Institute in Brooklyn.

Devin King is the poetry editor of the Green Lantern Press and the author of There Three and The Grand Complication.

Faride Mereb is a Venezuelan editor and book designer based in New York City and specializing in typography. She is the founder and director of the publishing house Ediciones Letra Muerta and a visiting scholar at Columbia University. In 2018 she was one of the winners of AIGA’s 50 book 50 book covers in both categories. She is editor of Grenade in Mouth: Some Poems of Miyó Vestrini, translated by Anne Boyer and Cassandra Gillig.

Jesse Seldess is the author of three poetry collections: Several Rotations, Left Having, and Who Opens. From 2001 to 2012, he edited and published the international journal of writing, music, and performance Antennae, and from 2003 to 2007, he co-curated the Chicago reading and performance series Discrete Series with Kerri Sonnenberg.

DREAM OF EUROPE: SELECTED SEMINARS AND INTERVIEWS: 1984-1992 elucidates Audre Lorde’s methodology as a poet, mentor, and activist during the last decade of her life. This volume compiles a series of seminars, interviews, and conversations held by the author and collaborators across Berlin, Western Europe, and The Caribbean between 1984-1992. These selected writings lay bare struggles, bonds, and hopes shared among Black women in a transnational political context, as well as offering sometimes surprising reflections on the US American counter culture with which Lorde is associated. Many of the poems that were important to Lorde’s development are excerpted in full within these pages, serving as a sort of critical anthology. Edited by Mayra A. Rodríguez Castro. Preface by Dagmar Schultz.

Read more and buy it here from Kenning Editions or here from Small Press Distribution.

Or you may enjoy this series of readings to launch and celebrate the book, featuring Rodriguez Castro, Imani Elizabeth Jackson, Monilola Olayemi Ilupeju, Hanna Girma, Diamond Stingily, Frankie Decaiza Hutchinson, Dorothée Munyaneza, Yulan Grant, and Makayla Bailey.

Please consider subscribing to Kenning Editions for a steeply discounted batch of books, including but not limited to Dream of Europe, Grenade in Mouth: Some Poems of Miyó Vestrini, Kevin Killian’s Stage Fright: Selected Plays from San Francisco Poets Theater, There Three by Devin King, Several Rotations by Jesse Seldess, and The Chilean Flag by Elvira Hernández, translated by Alec Schumacher, and with an introduction by Cecilia Vicuña.

Kevin appeared before me for the first time in 2010 at the Poetry Project celebrating The Kenning Anthology of Poets Theater. An impossibly entertaining performer, he was like the Zeus of poetry readings and performances. One of the only solo readers who I always felt could “go long” and read for longer than the pre-ordained 20 minutes… And that would be fine. As the reading came to a close, I approached him and asked, “How did you get so good at this?” He said, “Oh, I’m just a ham.” It was at that moment that I knew I would never be as good at Poets Theater as Kevin.

Read “All My Kevins” and also see Stage Fright, Killian’s selected plays.

“Reading this book is to take a master class in writing, in activism, in intersectional identity politics from Lorde herself. Reading this book is to create meaning out of writing, during this time of deep unknowing and sometimes despair.”

[CAS] Circumventing Canons & Methodising archives for critical perspectives from Africa & the Diaspora #CASarchive / Founded by Awa Konaté / goes live this Wednesday at 4:00 PM ( U.K. time) (11:00 AM EST) via Instagram to read from the work of Soleida Ríos. Tune in!

Jasmine Chatfield reviews The Chilean Flag

The interchange of the Flag between object and woman conjures unusual and arresting images: ‘stabbed by matadors’ flags she bleeds in a plastic bag’, a line that sounds almost out of a nursery rhyme, its jauntiness a mockery that serves to underscore the degradation of the country. The Chilean Flag is ‘used as a gag | and that’s why surely that’s why | no one says anything’.

Read more at Modern Poetry in Translation.

There Three collects Devin King’s early collections of poetry, previously published in now scarce, limited editions: CLOPS, These Necrotic Ethos Come the Plains, and The Resonant Space. Devin King is the poetry editor for The Green Lantern Press. His narrative poem, The Grand Complication, was published by Kenning Editions in 2019.

Meanwhile, a subscription to Kenning Editions will get you this new title and all of the others moving forward.

The third installment of “I can explain everything” is up, and it is devoted to Killian’s poetry and poets theater work. Read it all here.

“Is poets theater even a genre at all?” Kevin and David Brazil asked in their introduction to the volume they edited together, 2010’s The Kenning Anthology of Poets Theater. … Kevin identified himself as part of a second wave of San Francisco Poets Theater because, as he told Heidi Bean, “there was a vacuum into which, I thought, I could harness some New Narrative energy. And gay it up a bit—it was a terribly straight place. Maybe not earnest, but straight.” He cast other writers and the rehearsal process was extremely short, perhaps meeting the day of the show to work out entrances and exits and minimal blocking. Light costuming may have included a robe or Halloween store cloak. His actors held scripts so they didn’t have to memorize their lines, but that meant they weren’t looking at each other. Their performances were varying degrees of amateur, which rather than inducing cringes provided for a vital sense of authenticity.

Attending the AWP conference (March 4-7) this year? Visit the Kenning Editions table (#933) at the book fair. All available titles will be on hand. You can name your own price for any and all books! Signings by Kenning Editions authors, at the table, include Jesse Seldess 10:30-noon and Mayra Rodriguez Castro 1:30-3:00 on Friday the 6th, also Olivia Lott 11:00-12:00 and Devin King 1:00-2:00 on Saturday the 7th.

Also, don’t miss our panel, Disciplinary Poetics: Room 210B, Henry B. González Convention Center, Meeting Room Level, Friday, March 6, 10:35-11:50. Moderated by Patrick Durgin, with papers by Tyrone Williams, Jennifer Nelson, Devin King, and Marty Larson-Xu.

This critical panel examines a few ways poetry intervenes and enhances—provides alternative models of research to—disciplines that constitute literature’s “outside.” This is a metacorrective to the once astounding but now flaccid notions of interdisciplinarity and genre hybridity. How do the disciplinary logics of biology, information science, philosophy, political economy, anthropology, history, geography, journalism, classics, visual arts, etc. react to a poetic working over?

We are also co-hosting a big off-site reading.

ACTION BOOKS, GREEN LANTERN PRESS, KENNING EDITIONS, and SMALL PRESS DISTRIBUTION invite you to an OFF-SITE READING by Fulla Abdul-Jabbar / Mayra A. Rodríguez Castro (reading Audre Lorde) / Joel Craig / Rachel Galvin / Katherine Hedeen (reading Legna Rodríguez Iglesias) / Cathy Park Hong (reading Seungja Choi) / Valerie Hsiung / Devin King / Olivia Lott (reading Soleida Ríos) / John Pluecker / Lara Schoorl / Jesse Seldess / Candice Wuehle at the Cherrity Bar, 302 Montana St, San Antonio, a two minute walk from the convention center / Cherrity Bar’s proceeds go entirely to worthy community non-profits / best Ramen and craft cocktails in San Antonio / admission is free / starts at 7:00 PM, Friday March 6

It’s a “ModPo Minute” or nine of them, in which two great readers of contemporary poetry delve into Craig Dworkin’s The Pine-Woods Notebook.

Watch here.

Over at Full Stop, an insightful review of The Dirty Text, by Soleida Ríos.

With reality itself at stake, Ríos’ materialization of dreams in literature is not mere narcissistic auto-analysis. Opposed to petrified, insomniac ideologies that prove increasingly inadequate to the task of averting societal implosion, dreams liquify the strictures of consciousness to yield the raw material of fresh understanding. That material must be recognized and refined, cooked into language, for understanding to develop far enough to reflect back into dreams and charge them with new material to reshape.