and come away with some goodies, including every publication in the 2018-2019 season, a trend setting tote bag, and even acknowledgment in one of our books!

Kenning Editions is a small press with a regular staff of one individual, who relies on the input of many, and now also your tax-deductible monetary contributions to continue. Consider becoming a supporter of Kenning Editions. 

In 2019, Kenning Editions will publish four titles. In February come Kevin Killian’s selected plays, Stage Fright, and Craig Dworkin’s The Pine-Woods Notebook. In mid-March Kenning Editions will publish Grenade in Mouth: Some Poems of Miyó Vestrini, edited by Faride Mereb, and translated by Anne Boyer and Cassandra Gillig. The Chilean Flag by Elvira Hernández, translated by Alec Schumacher, and Devin King’s The Grand Complication will follow in summer.

Short missives from Kenning Editions authors, with insights into their relationships to their own books. Have a look, and then consider donating or subscribing. Becoming a supporter of Kenning Editions is to literally constitute Kenning Editions. We are a 501(c)3 non-profit, and whatever you give is tax deductible. Click here to learn more about the 2018-2019 season.

Kenning Editions is proud to announce the publication of The Dirty Text by acclaimed Afro-Cuban poet Soleida Ríos, in a fully bilingual edition translated by Barbara Jamison and Olivia Lott, and featuring an afterword by Kristin Dykstra. This book is edited by Daniel Borzutzky.

The Dirty Text (El Texto Sucio) is Ríos’s first book to appear in English. Written in the 1990s in Cuba, it is a book of poems, a book of stories and, most vividly, a book of dreams. As poet Rosa Alcalá writes, Ríos’ writings are “indescribable manifestations of a poetics unfastened to mode, genre, or category.” In this book, human eyes appear beneath other human eyes, snakes materialize with three heads, and the bodies of loved ones duplicate, disintegrate or speak to ghosts and Gods. It is a book about the possibilities of language and literature to articulate our relationship to the communities we occupy and the communities we imagine, a book that disentangles the lines between our conscious lives and our unconscious lives, what we imagine and what we experience.

Read more about The Dirty Text here. It is available also as part of the Kenning Editions subscription scheme or as a premium when you donate. Small Press Distribution carries the book, as ever.

Kevin Killian’s “Spreadeagle” was once just a novel but is now also an exhibit. It opens Friday, November 3rd, at Iceberg Projects here in Chicago. Kevin’s Stage Fright: Selected Plays from San Francisco Poets Theater is forthcoming this February from Kenning Editions.

Here is an interview with Ana Arzoumanian and Gabriel Amor about their collaboration resulting in Juana I. It is a wonderful and funny rumination on merged identities and staggered rhythms.

GA: Había párrafos en los que yo me preguntaba “quién está tocando a quién” y tenía que preguntar, rompiendo un poco el misterio. También diciendo “Ana, esta imagen es erótica o sexual”. En un principio no nos conocíamos tan bien y ella me decía: “si te parece que lo es, es que lo es”. Después ya no tenía que preguntar.

AA: Gabriel fue un traductor soñado. Fue el novio de Juana (ríe).

The King Juan Carlos I of Spain Center at New York University presents a reading by Ana Arzoumanian and translator Gabriel Amor on Wednesday, September 26, 7:00 PM. Admission is free and open to the public.

This reading introduces the bilingual edition of Ana Arzoumanian’s Juana I to American audiences. Arzoumanian’s genre-defying tour de force is delivered via a trance-like, first person narration that collapses time and space. It is both a love poem to and poetic justice for Juana of Castile, aka “Juana la Loca,” the mad queen of Spain.

Arzoumanian and Amor return to the United States to read at The Poetry Foundation in Chicago on March 21st, 2019. Check their events schedule or kenningeditions.com for details, as they come available.

ABOUT ANA ARZOUMANIAN

Ana Arzoumanian is a prolific and celebrated poet. She has also been a member of the International Association of Genocide Scholars; a professor at the International Postgraduate Program in Creative Writing, Latin American Faculty of Social Sciences; a Lacanian psychoanalyst; and a professor of Philosophy of Law at the Universidad del Salvador, Faculty of Legal Sciences of Buenos Aires. Arzoumanian remains an active literary and theater critic, and has traveled extensively to read her poetry. She collaborated on the documentary A Dialogue Without Borders about the Armenian genocide and the disappeared during Argentina’s military dictatorship. This is the first full-length English-language translation of her work in the U.S.

ABOUT GABRIEL AMOR

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. Amor has collaborated with other artists on multimedia performances and was a producer on the Emmy-nominated documentary The Woman Who Wasn’t There. He is Program Director of Postbaccalaureate Studies at Columbia University.

MEANWHILE

We here at Kenning Editions have just instituted the most generous subscription plan ever, $75.00 for six + books, direct-mail, postage paid (domestic orders only). This includes Soleida Ríos’ The Dirty Text, translated by Barbara Jamison and Olivia Lott, with an essay by Kristin Dykstra. The book is officially released in late October, but it is ready to ship to subscribers now!

Soleida Ríos (b. 1950) is an acclaimed Cuban poet whose work draws from Afro-Cuban traditions as well as writers as diverse as Juan Rulfo and Aimé Cesaire. She has published fourteen books from 1977 to the present, and The Dirty Text (El Texto Sucio) is her first book to appear in English. Written in the 1990s in Cuba, it is a book of poems, a book of stories and, most vividly, a book of dreams. As poet Rosa Alcalá writes, Ríos’ writings are “indescribable manifestations of a poetics unfastened to mode, genre, or category.” In this book, human eyes appear beneath other human eyes, snakes materialize with three heads, and the bodies of loved ones duplicate, disintegrate or speak to ghosts and Gods. It is a book about the possibilities of language and literature to articulate our relationship to the communities we occupy and the communities we imagine. The Dirty Text received a major literary award from the Alejo Carpentier Foundation, and her 2013 collection Estrías won the Nicolás Guillén award. Ríos was also recognized with the National Literary Critics Award in 2014.

Subscribe to Kenning Editions and receive all books in our 2018-2019 season, including Ana Arzoumanian’s Juana I, Soleida Ríos’ The Dirty Text, Grenade in Mouth: Some Poems of Miyó Vestrini, and Kevin Killian’s Stage Fright: Selected Plays from San Francisco Poets Theater. By the summer months of 2019, you will also have in hand Devin King’s The Grand Complication and The Pine-Woods Notebook, by Craig Dworkin. And shortly thereafter, expect to receive The Chilean Flag, by Elvira Hernández, translated by Alec Schumacher and with an introduction by Cecilia Vicuña. Subscribers also receive a random chapbook from the Ordinance series (2015-2017), while supplies last. Ordinance books include titles by Daniel Borzutzky, Janelle Rebel, Daniel Spangler, Andrew Durbin, Cassandra Troyan, Carla Harryman, and Steven Zultanski, among others.

Your subscription is the most direct way to support the press’ ongoing efforts to make important new writing available. In the U.S., a subscription of $75.00 is postage paid. International subscribers incur a shipping charge of $15.00.

Kevin Killian, co-editor of The Kenning Anthology of Poets Theater: 1945-1985, and author of the forthcoming Stage Fright: Selected Plays from San Francisco Poets Theater, writes for McSweeney’s a think piece called

IMAGINE IF YOU CAN THE DEATH OF THE PRISON HOUSE

And it’s awfully good.

Maybe it was always in the cards that the United States should forget it was planned, by some lights, to be a good place. Can I even publish my hopes for armed revolution here?

We have been busy. Here is what to expect over the next several months.

This October, we will release El Texto Sucio / The Dirty Text by Soleida Ríos, translated by Barbara Jamison and Olivia Lott, and edited by Daniel Borzutzky.

By the end of November, we expect to unveil Kevin Killian’s selected plays, entitled Stage Fright.

In February, look for The Pine-Woods Notebook, by Craig Dworkin.

And in the spring, we will proudly publish Grenade in Mouth: Some Poems of Miyó Vestrini, edited by Faride Mereb, and translated by Anne Boyer and Cassandra Gillig.

Along with that comes The Grand Complication, by Devin King.

And eventually, The Chilean Flag by Elvira Hernández, translated by Alec Schumacher. Hernández was recently awarded the Pablo Neruda Prize.

Details on each title will follow shortly before publication.

Here is where you subscribe to receive them all, plus other goodies. And if you appreciate Kenning Editions’ efforts to bring important new and archival writing into existence as bona fide books, then please consider becoming a supporter.

We are gradually populating http://www.instagram.com/kenningeditions/ with eye candy for you. Note a short video leafing through the very rare 2004 chapbook Syrup Hits.

Elvira Hernández was announced as the winner of the Pablo Neruda Prize yesterday, a major accolade for a writer who deserves more recognition. Under the auspices of editor Daniel Borzutzky, Kenning Editions will publish Hernández’s “La Bandera de Chile” (The Chilean Flag) in 2019.

The prize committee praised Hernández’s work, saying she “uses an intimate language but does not stop talking and referring to the real world, to contingent issues, with a special irony and a clear and delicate pen, which has managed to capture many young Latin American readers.” More here.

Anne Lesley Selcer on Dolores Dorantes’ Style:

With its taunting, sexual, and threatening lyric of white-hot energetic overcoming, Style offers an alternative lexicon for surviving.

Read this astonishing essay at Jacket2.org