Yardley, Pennsylvania, an expensive dump and the van seats shake their broken bones. Duty-free liquor and cigarettes, the refineries and the harbor's cranes. The moon digs its way out of the dirt. The branches of an evergreen sway. She's nice the woman you don't love. She kisses you hard and often holding
Feb 22 2018
Organized and hosted by Davy Knittle, "City Planning Poetics" holds events that invite one or more poets and one or more planners, designers, planning historians or others working in the field of city planning to discuss a particular topic central to their work, to ask each other questions, and to read from their current projects.
ERICA KAUFMAN is the author of POST CLASSIC (forthcoming from Roof Books), INSTANT CLASSIC (Roof Books, 2013) and censory impulse (Factory School, 2009). she is also the co-editor of NO GENDER: Reflections on the Life and Work of kari edwards (Venn Diagram, 2009), and of Adrienne Rich: Teaching at CUNY, 1968-1974 (Lost & Found: The CUNY Poetics Document Initiative, 2014). Prose and critical work can be found in: Rain Taxi, The Poetry Project Newsletter, Jacket2, Open Space/SFMOMA Blog, Women's Studies Quarterly, and in The Color of Vowels: New York School Collaborations (ed. Mark Silverberg, Palgrave MacMillan, 2013). Additional critical work is forthcoming in the MLA Guide to Teaching Gertrude Stein (eds. L. Esdale and D. Mix) and Reading Experimental Writing (ed. Georgina Colby). kaufman is the Director of the Institute for Writing & Thinking at Bard College, and teaches in the Master of Arts in Teaching Program and in the undergraduate college.
JEN JACK GIESEKING is an urban cultural geographer, feminist and queer theorist, environmental psychologist, and American Studies scholar. He is engaged in research on co-productions of space and identity in digital and material environments. Jack’s work pays special attention to how such productions support or inhibit social, spatial, and economic justice in regards to gender and sexuality. He is working on his second book project, A Queer New York: Geographies of Lesbians, Dykes, and Queer Women, 1983-2008, which is under contract with NYU Press and expected to be released in print and online open access in 2019. Jack is also conducting research on trans people’s use of Tumblr as a site of cultural production. He is Assistant Professor of Public Humanities in American Studies at Trinity.
3805 Locust Walk19104 Philadelphia, Pennsylvania
Mar 13 2018
Poet and translator Michael Palmer has lived in San Francisco since 1969. He has worked with the Margaret Jenkins Dance Company for over forty years and has collaborated with many composers and visual artists. His most recent collections are Active Boundaries, Madman With Broom. His new book of poems, The Laughter of the Sphinx was published by New Directions in June of 2016. He has taught at various universities in the United States, Europe and Asia, and in May of 2012 received the Arts and Letters Prize in Literature from the American Academy of Arts and Letters. Previously, among other awards, he received the Shelley Memorial Prize from the Poetry Society of America, a Lila Wallace Readers Digest Foundation Grant for the years 1992-94, the Wallace Stevens Award from the Academy of American Poets, two National Endowment for the Arts fellowships, and a Guggenheim Fellowship. From 1999 to 2004 he was a Chancellor of the Academy of American Poets. His work has been translated into over thirty languages, and he himself has translated poems and prose, principally from French, Brazilian Portuguese and Russian.
3805 Locust Walk19104 Philadelphia, Pennsylvania
Mar 01 2018
Black Futures presents a reading, lecture, and conversation, by Carl Phillips and Laylah Ali.
“What has restlessness been for?”
In, Wild Is the Wind, Carl Phillips reflects on love as depicted in the jazz standard for which the book is named—love at once restless, reckless, and yet desired for its potential to bring stability. In the process, he pitches estrangement against communion, examines the past as history versus the past as memory, and reflects on the past’s capacity both to teach and to mislead us—also to make us hesitate in the face of love, given the loss and damage that are, often enough, love’s fallout. How “to say no to despair”? How to take perhaps that greatest risk, the risk of believing in what offers no guarantee? These poems that, in their wedding of the philosophical, meditative, and lyric modes, mark a new stage in Phillips’s remarkable work, stand as further proof that “if Carl Phillips had not come onto the scene, we would have needed to invent him. His idiosyncratic style, his innovative method, and his unique voice are essential steps in the evolution of the craft” (Judith Kitchen, The Georgia Review).
326 S. Bellefield Avenue15213 Pittsburgh, Pennsylvania
Heinz Memorial Chapel
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We find out the heart only by dismantling what the heart knows. By redefining the morning, we find a morning that comes just after darkness. We can break through marriage into marriage. By insisting on love we spoil it, get beyond affection and wade mouth-deep into love. We must unlearn the constellations to see