Workshop: Janus (Soma)tic Poetry (Soma)tic rituals help us see the creative viability in everything around us by generating a space of “extreme present” where being anything but present is next to impossible. We will create rituals to write together with a focus on January, the month named after the two-headed god Janus, the god of bridges, doorways and other portals. CAConrad has successfully used (Soma)tic poetry rituals to overcome depression after the murder of his boyfriend Earth (aka Mark Holmes). He has also created writing rituals using the night sky to design homemade star constellations, another ritual to experience what the impact of hearing the word “drone” has on the human body, and many others from talking with trees, ghosts, translating Shakespeare’s sonnets with crystals, and coping with the destroyed wilderness of our planet.
Talk: Occult Poetics How occult and paranormal experiences and practices by poets of the past show us the way to trusting these same forces are also at work today.
LaTasha N. Nevada Diggs
Workshops: an acronym for tic tacs, a writing workshop of sorts By alternating between what makes us comfortable and uncomfortable, we have learned that the act of writing is infused with a host of curiosities, missteps, humor, allure, recoveries and occasional foul breath. It is silence that often rides our backs as writing companion and yet, it is likely that we are over stimulated – even desensitized - via social media, YouTube, urban development, displacement, etc. There, the questions surface: how does one write in the midst of all this noise? Can we successfully develop a body of work that speaks to our realities and others in the now? Here, we will survey local and global news, familial silences, hybrid works written by a selection of poets and performance based artists along with the sacred art of ‘ease-dropping’, negating pronouns and punctuation for generating work and ideas. Three 2-hour workshop sessions
Talk: when we curate, we should be cooking My talk will focus on curation as artistic practice/process and how the act of cooking for the arts community is aligned with the concept of mutual help (kyojo). One 1-hour talk
Workshops: In this series of writing workshops, we will struggle with and confront history place, and possession(s) as we form creative answers to how works of art may act as a practice of resistance and recovery. As we engage modes and invite entry into enhanced receptivity to creatively address what Fred Moten calls modernity's socio-ecological disaster, participants in this workshop will become familiar with and enact inventive writing strategies with suggestions and prompts to enact future writing.
This is also a workshop that will "work" and our works will take shape via reading, listening, speaking, and interacting as we develop in-class writings and arrive at a shared critical vocabulary. Methods will include utilizing music, other texts, trance work, Oulipo and surrealist techniques, the symbols of dreams, tarot, myth, and fairytales - and more -- we will engage modes and invite portals into enhanced receptivity to face t he "Angel of History". The workshop will include revision strategies, critical poetic terms and concepts, plus a bibliography of texts and author names for future reading. Four 1-hoursworkshops
Talk: Twist: Narrative's Double in Poetry and Popular Culture In this talk, Hoa Nguyen addresses poetry as a site of simultaneous struggle and recovery. She begins with a 1976 talk by poet Robert Duncan called "Warp and Woof," seeing in poetry's structure what Duncan calls "double events," a woven tapestry of competing terms. Nguyen's meditation situates poetry in an international context of Vietnamese folks songs, southern US ballads, North American punk, and Delta Blues where artists can be seen performing a range of cross-cultural defiance, political acknowledgment, and social crossings.
Translation Workshops: Translation as Poetic Practice For many poet-translators, literary translation is an extension of their own practice as poets. What does it mean that every word of an English-language translation belongs to the translator, and what ethical questions and responsibilities does that raise? At what point does poetic license become reckless or distortionary? Using texts from a wide variety of emerging and established Mexican poets, we will translate collaboratively and individually to craft English-language poems that sing with the same music and poetry as their original-language counterparts.
Talk: An Open Window: Translation and the Future of Literature Journeying through Paraguay and São Tomé as well as the Mexican states of Oaxaca and Chihuahua, I will offer an overview how translations have influenced English-language literature throughout the twentieth century and into the present day, as well as offering a model for how the practice of translation contributes to the evolution of both the idiolect and the language at large.
Workshops: Writing through the Eco-imaginary This workshop invites participants to explore relationships of writing to larger social and environmental realities. What are the lines of force that shape our commitments to the written word and its contexts? How do we acknowledge stressed ecological systems while also finding jubilant positions of authorship in a world gripped by the conflict of nationalist and neoliberal determinations? This workshop will draw attention to strategies of writing based on forms of life—looking, listening, and feeling through the observable histories of our situated conditions in North America. Three 2-hour workshop sessions
Talk: My talk focuses on historical and contemporary strategies of community building among poets. I draw attention especially to the relationship of the private and public conversations of letters. Starting with Robert Duncan and Charles Olson’s correspondence (1947-1969) and ending with examples of contemporary conversations and the formation of community through small press publication and digital circulation, I will discuss ways poets engage audiences and support writing through multiple modes and sites of creative interaction. One 1-hour talk
Personal Geographies: "I never saw daffodils so beautiful they grew among the mossy stones about and about them, some rested their heads upon these stones as on a pillow for weariness," wrote Dorothy Wordworth on April 15, 1802, after a walk with with her brother. A couple of years later, William Wordsworth used Dorothy's recollection as the source for his most famous poems, which begins "I wandered lonely as a Cloud." We'll be looking at writing and art (including Basho's travelogues, poems by Elizabeth Bishop, Bernadette Mayer, and Baudelaire, and the artwork of Gerardo Nigenda and Hamish Fulton) that explores place and the feeling of being in landscape; and we'll be working to find poetic, visual, and collaborative forms to accommodate our own journeys and days. Three 2-hour workshops
Talk: En Plein Air: Joshua Edwards will be taking about his own projects that incorporate walking, photography, and the written word, and also about some historical examples of cross-genre art that is made outdoors. 1-hour