Podcast appearances and mentions of Nathaniel Mackey

by Nathaniel Mackey

Today's poem is a shape poem dedicated to chefs, but (surprise?) it might be about more than cooking.John Hollander, one of contemporary poetry's foremost poets, editors, and anthologists, grew up in New York City. He studied at Columbia University and Indiana University, and he was a Junior Fellow of the Society of Fellows of Harvard University. Hollander received numerous awards and fellowships, including the Levinson Prize, a MacArthur Foundation grant, and the poet laureateship of Connecticut. He served as a Chancellor of the Academy of American Poets, and he taught at Hunter College, Connecticut College, and Yale University, where he was the Sterling Professor emeritus of English.Over the course of an astonishing career, Hollander influenced generations of poets and thinkers with his critical work, his anthologies and his poetry. In the words of J.D. McClatchy, Hollander was “a formidable presence in American literary life.” Hollander's eminence as a scholar and critic was in some ways greater than his reputation as a poet. His groundbreaking introduction to form and prosody Rhyme's Reason (1981), as well as his work as an anthologist, has ensured him a place as one of the 20th-century's great, original literary critics. Hollander's critical writing is known for its extreme erudition and graceful touch. Hollander's poetry possesses many of the same qualities, though the wide range of allusion and technical virtuosity can make it seem “difficult” to a general readership.Hollander's first poetry collection, A Crackling of Thorns (1958) won the prestigious Yale Series of Younger Poets Awards, judged by W.H. Auden. And in fact James K. Robinson in the Southern Review found that Hollander's “early poetry resembles Auden's in its wit, its learned allusiveness, its prosodic mastery.” Hollander's technique continued to develop through later books like Visions from the Ramble (1965) and The Night Mirror (1971). Broader in range and scope than his previous work, Hollander's Tales Told of the Fathers (1975) and Spectral Emanations (1978) heralded his arrival as a major force in contemporary poetry. Reviewing Spectral Emanations for the New Republic, Harold Bloom reflected on his changing impressions of the poet's work over the first 20 years of his career: “I read [A Crackling of Thorns] … soon after I first met the poet, and was rather more impressed by the man than by the book. It has taken 20 years for the emotional complexity, spiritual anguish, and intellectual and moral power of the man to become the book. The enormous mastery of verse was there from the start, and is there still … But there seemed almost always to be more knowledge and insight within Hollander than the verse could accommodate.” Bloom found in Spectral Emanations “another poet as vital and accomplished as [A.R.] Ammons, [James] Merrill, [W.S.] Merwin, [John] Ashbery, James Wright, an immense augmentation to what is clearly a group of major poets.”Shortly after Spectral Emanations, Hollander published Blue Wine and Other Poems (1979), a volume which a number of critics have identified as an important milestone in Hollander's life and career. Reviewing the work for the New Leader, Phoebe Pettingell remarked, “I would guess from the evidence of Blue Wine that John Hollander is now at the crossroads of his own midlife journey, picking out a new direction to follow.” Hollander's new direction proved to be incredibly fruitful: his next books were unqualified successes. Powers of Thirteen (1983) won the Bollingen Prize from Yale University and In Time and Place (1986) was highly praised for its blend of verse and prose. In the Times Literary Supplement, Jay Parini believed “an elegiac tone dominates this book, which begins with a sequence of 34 poems in the In Memoriam stanza. These interconnecting lyrics are exquisite and moving, superior to almost anything else Hollander has ever written.” Parini described the book as “a landmark in contemporary poetry.” McClatchy held up In Time and Place as evidence that Hollander is “part conjurer and part philosopher, one of our language's true mythographers and one of its very best poets.”Hollander continued to publish challenging, technically stunning verse throughout the 1980s and '90s. His Selected Poetry (1993) was released simultaneously with Tesserae (1993); Figurehead and Other Poems (1999) came a few years later. “The work collected in [Tesserae and Other Poems and Selected Poetry] makes clear that John Hollander is a considerable poet,” New Republic reviewer Vernon Shetley remarked, “but it may leave readers wondering still, thirty-five years after his first book … exactly what kind of poet Hollander is.” Shetley recognized the sheer variety of Hollander's work, but also noted the peculiar absence of anything like a personality, “as if the poet had taken to heart, much more fully than its author, Eliot's dictum that poetry should embody ‘emotion which has its life in the poem and not in the history of the poet.'” Another frequent charge leveled against Hollander's work is that it is “philosophical verse.” Reviewing A Draft of Light (2008) for Jacket Magazine, Alex Lewis argued that instead of writing “philosophizing verse,” Hollander actually “borrows from philosophy a language and a way of thought. Hollander's poems are frequently meta-poems that create further meaning out of their own self-interrogations, out of their own reflexivity.” As always, the poems are underpinned by an enormous amount of learning and incredible technical expertise and require “a good deal of time and thought to unravel,” Lewis admitted. But the rewards are great: “the book deepens every time that I read it,” Lewis wrote, adding that Hollander's later years have given his work grandeur akin to Thomas Hardy and Wallace Stevens.Hollander's work as a critic and anthologist has been widely praised from the start. As editor, he has worked on volumes of poets as diverse as Ben Jonson and Dante Gabriel Rossetti; his anthologist's credentials are impeccable. He was widely praised for the expansive American Poetry: The Nineteenth Century (1994), two volumes of verse including ballads, sonnets, epic poetry, and even folk songs. Herbert Mitgang of the New York Times praised the range of poets and authors included in the anthology: “Mr. Hollander has a large vision at work in these highly original volumes of verse. Without passing critical judgment, he allows the reader to savor not only the geniuses but also the second-rank writers of the era.” Hollander also worked on the companion volume, American Poetry: The Twentieth Century (2000) with fellow poets and scholars Robert Hass, Carolyn Kizer, Nathaniel Mackey, and Marjorie Perloff.Hollander's prose and criticism has been read and absorbed by generations of readers and writers. Perhaps his most lasting work is Rhyme's Reason. In an interview with Paul Devlin of St. John's University, Hollander described the impetus behind the volume: “Thinking of my own students, and of how there was no such guide to the varieties of verse in English to which I could send them and that would help teach them to notice things about the examples presented—to see how the particular stanza or rhythmic scheme or whatever was being used by the particular words of the particular poem, for example—I got to work and with a speed which now alarms me produced a manuscript for the first edition of the book. I've never had more immediate fun writing a book.” Hollander's other works of criticism include The Work of Poetry (1993), The Poetry of Everyday Life (1997), and Poetry and Music (2003).Hollander died on August 17, 2013 in Branford, Connecticut.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

The Social Listening series created spaces for listening and connecting despite our spatial isolation during the pandemic. This social listening episode features acclaimed poets and scholars, Dr. Nathaniel Mackey and Dr. Fred Moten as they read from poetry which offers profound explorations of the collocations of Black music and experimental poetics, the “freedom drive” of Black life and the “fugitive impulses” in Black performance.

by Nathaniel Mackey

New Directions at 85: The Anniversary Celebration with Forrest Gander as MC and Rosmarie Waldrop, Susan Howe, Nathaniel Tarn, Nathaniel Mackey, Mei-mei Berssenbrugge, Sylvia Legris, Michael Palmer, Will Alexander, Eliot Weinberger, and other surprise guests. This event was originally broadcast live via zoom on Thursday, June 3, 2021 and was introduced by City Lights' Peter Maravelis and hosted by Forrest Gander. New Directions was founded in 1936 by James Laughlin, then a Harvard University sophomore, via advice from Ezra Pound to "do something useful" after finishing his studies at Harvard. The first projects to come out of New Directions were anthologies of new writing, each titled "New Directions in Poetry and Prose" (until 1966's NDPP 19). Early writers incorporated in these anthologies include Dylan Thomas, Marianne Moore, Wallace Stevens, Thomas Merton, Denise Levertov, James Agee, and Lawrence Ferlinghetti. New Directions publishing program includes writing of all genres, representing not only American writing, but also a considerable amount of literature in translation from modernist authors around the world. Among some of the writers they have published are Nobel Prize Winners: Andre Gide, Pablo Neruda, Boris Pasternak, Octavio Paz, Pulitzer Prize Winners: Hilton Als, George Oppen, Gary Snyder, Williams Carlos Williams, National Book Award Winners: Yoko Tawada, Nathaniel Mackey, Man Booker Prize Winner László Krasznahorkai, as well as many others. The current focus of New Directions is threefold: discovering and introducing to the US contemporary international writers; publishing new and experimental American poetry and prose; and reissuing New Directions' classic titles in new editions. Drawing from the tradition of the early anthologies and series, New Directions launched the Pearl series, which presents short works by New Directions writers in slim, minimalist volumes designed by Rodrigo Corral.

Nathaniel Mackey in conversation with Fred Moten, celebrating the launch of his new poetry collection, "Double Trio," published by New Directions. This event was originally broadcast via Zoom and hosted by Josiah Luis Alderete. Nathaniel Mackey was born in Miami, Florida, in 1947. He is the author of several books of fiction of "exquisite rhythmic lyricism" (Bookforum), poetry, and criticism and has received many awards for his work, including the National Book Award in poetry for Splay Anthem, the Stephen Henderson Award from the African American Literature and Culture Society, the Bollingen Prize, and the Ruth Lilly Poetry Prize. Mackey is the Reynolds Price Professor of English at Duke University. Fred Moten is an American cultural theorist, poet, and scholar whose work explores critical studies, black studies, and performance studies. Moten is Professor of Performance Studies at New York University and Distinguished Professor Emeritus at University of California, Riverside and the University of Iowa. His scholarly texts include "The Undercommons: Fugitive Planning & Black Study" which was co-authored with Stefano Harney, "In the Break: The Aesthetics of the Black Radical Tradition," and "The Universal Machine" (Duke University Press, 2018). He has published numerous poetry collections, including The Little Edges, The Feel Trio, B Jenkins, and Hughson's Tavern. In 2020, Moten was awarded a for "[c]reating new conceptual spaces to accommodate emerging forms of Black aesthetics, cultural production, and social life." Sponsored by the City Lights Foundation.

In our first podcast our exiting Conference director, Alan Golding, talks with our in-coming director, Matthew Biberman, offering advice along with cherished memories of several major American poets and scholars including Frank Bidart, Robert Creeley, Clayton Eshleman, Susan Howe, W. S. Merwin, Harryette Mullen, Marjorie Perloff, and Nathaniel Mackey.

Adam O. Davis selects and shares poems that engage with journeys—across time, through mystery, into the past, or to shape a future. He introduces Nathaniel Mackey meditating on eternal questions (“Glenn on Monk's Mountain”), Maurya Simon reminding us that the dead surround and sustain us (“El Día de los Muertos”), and Robert Creeley poignantly speaking across time (“I Know a Man”). Davis closes by reading his poem “Interstate Highway System,” his own plea for living sparked by a 2015 road trip across America.You can find the full recordings of Nathaniel Mackey, Maurya Simon, and Robert Creeley reading for the Poetry Center on Voca:Nathaniel Mackey with jazz pianist Marilyn Crispell (2013)Maurya Simon (2019)Robert Creeley (1963)Check out Davis's Index of Haunted Houses Hotline by calling 619-329-5757.

This week the Spine Crackers read Bass Cathedral, the fourth volume of Nathaniel Mackey's epic ongoing, beginning and end-less epistolary work of jazz, history, and identity (among many other things) From a Broken Bottle Traces of Perfume Still Emanate.

Boston-born composer Sid Richardson releases Borne by a Wind. In this debut portrait album, Richardson explores the point of intersection between music and literature in gritty and original ways, opening with Red Wind (2017), a collaboration with African-American experimentalist poet and National Book Award-winner Nathaniel Mackey that features Mackey as the narrator in excerpts from his poetry collection Blue Fasa alongside the Deviant Septet. Earlier works on the album include There is no sleep so deep (2016), written for and performed by pianist Conrad Tao; LUNE (2015), written for and performed by violinist Lilit Hartunian; and Astrolabe (2014), recorded by the Da Capo Chamber Players. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1200/Borne_by_Wind.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Black lives matter and we will continue to amplify BIPOC (Black, indigenous, people of color) voices in podcasting. Welcome to episode 50. It covers the week of September 14 - 18, 2020.This week’s theme is: *Why Read Books?” The curator is Dan Kubis.Podpage makes it easy to create a podcast website with just a few clicks, where every page is optimized to be found on Google, it stays up-to-date forever, and requires zero technical knowledge. www.podpage.com This week's podcast spotlight is Pray for Us. Find it here:https://podcasts.apple.com/us/podcast/pray-for-us/id1497592584Thank you to Buzzsprout for their sponsorship! More here: https://www.buzzsprout.com/?referrer_id=869632More on this podcast:Each week on this podcast, we’ll share the information that's within the newsletter put out by EarBuds Podcast Collective. EBPC is a listening movement. We send a weekly email with a theme and 5 podcast episodes on that theme, and each week is curated by a different person. Anyone can curate a list -- just reach out!Here are the episodes chosen by Dan this week: A Phone Call from Paul A Conversation with Maggie Nelson48 minutes In this episode, Paul Holdengraber talks to the writer Maggie Nelson about how Proust inspires guilt, the disillusionment of youth, and how aging is a spectacular adventure. For more, visit LitHub.com. Live at Politics and Prose Lisa Halliday50 minutes Halliday’s debut novel was one of the literary events of 2018, earning uniformly rave reviews and a place on innumerable bestseller lists. The narrative ingeniously combines two starkly different narratives to give us a startling view of today’s world. The book starts with Alice, a young editor and writer in New York, and her relationship with an older, established novelist, a character based on Philip Roth. In the second section, Halliday turns to Amar, an Iraqi-American man who is detained by immigration officers at Heathrow as he’s en route to see his brother in Kurdistan. Being Human Revolution as Preservation: A Conversation with Fred Moten51 minutes An interview with Fred Moten, professor in the Department of Performance Studies at NYU. The interview focuses on Professor Moten's life and career, particularly his recent volume of criticism called "consent not to be a single being." The Nathaniel Mackey poem "Destination Out," which Moten references at the end of the conversation, is available here: www.poetryfoundation.org/poetrymagazi…tination-out Reading Women Interview with Anjali Sachdeva37 minutes Autumn and Kendra chat with Anjali Sachdeva about her debut short story collection All the Names They Used for God. Just the Right Book Podcast Ta-Nehisi Coates on the Most Intimate Evil of Enslavement72 minutesHow does memory create power? How do you define freedom, and how does the emotional savagery of selling and separating members of a family destroy and define a human being? And, most powerfully, in the midst of trauma and loss, how does one find courage and how does love survive? These ideas and more are explored in Ta-Nehisi Coates’ first novel, The Water Dancer. We are so excited that Buzzsprout is sponsoring our show. If you're looking to become a podcaster, Buzzsprout is the best podcast hosting site out there. Click here to learn more and sign up for an account: https://www.buzzsprout.com/?referrer_id=869632Want to sponsor one of our upcoming episodes or newsletters? Email us at earbudspodcastcollective@gmail.com. Here’s our rate sheet: https://www.earbudspodcastcollective.org/earbuds-podcast-rate-sheetFind our podcast recommendation archive here: https://www.earbudspodcastcollective.org/podcast-earbuds-recommendationsNeed podcast earbud recommendations? We got you on our website’s blog: https://www.earbudspodcastcollective.org/earbuds-podcast-collective-blog/podcast-earbudsThis episode was written and produced by Arielle Nissenblatt, who also hosts the show. Special thanks to Daniel Tureck who mixes and masters Feedback with EarBuds. Abby Klionsky edits our newsletter, which can be found at earbudspodcastcollective.org. Thank you to Matthew Swedo for composing our music. Find him and ask him all about your music needs. He’s at @matthewswedo on Instagram and www.matthewswedomusic.com.You can support us on Patreon! Find out more here: www.patreon.com/earbudspodcastcollectiveFollow us on social media:Twitter: @earbudspodcolInstagram: @earbudspodcastcollectiveFacebook: EarBuds Podcast CollectiveIf you like this podcast, please subscribe and tell a friend about the beauty of podcasts!More information at earbudspodcastcollective.org

An interview with Fred Moten, professor in the Department of Performance Studies at NYU. The interview focuses on Professor Moten's life and career, particularly his recent volume of criticism called "consent not to be a single being." The Nathaniel Mackey poem "Destination Out," which Moten references at the end of the conversation, is available here: www.poetryfoundation.org/poetrymagazi…tination-out.

Thad is an established award-winning sculptor who lives in Pittsburgh, PA. He’s 93 years old and still very active in his studio. He has had a wide range of solo and group shows. Thad currently has a show at Karma in New York City and the gallery has just published a monograph about him. In July 2020, the New York Times included Thad’s show at Karma as one of “3 Art Gallery Shows to Explore from Home” (https://www.nytimes.com/2020/07/01/arts/design/art-gallery-shows-to-explore-from-home.html). Thad’s first New York City exhibition was in 2004 at the CUE Art Foundation and curated by the poet Nathaniel Mackey. His work appears in numerous public collections including the Carnegie Museum of Art in Pittsburgh, the Mattress Factory Museum in Pittsburgh and the Westmoreland Museum of American Art in Greensburg, PA. Thad’s work appeared in the prestigious 57th Edition Carnegie International at the Carnegie Museum of Art in 2018. This fall, Thad’s sculptures will be on view at the Rockefeller Center as part of Frieze Projects, a special presentation of Frieze New York, curated by Brett Littman, Director of The Noguchi Museum. (To view Thad’s exhibition at Karma remotely, visit this link: https://karmakarma.org/exhibitions/thaddeus-mosley/virtual-tour/.)

To listen to ZULI's We Are All Anemic mix is to be confronted by decay. Sliding across an arid terrain, its sounds move, but with a momentum that is staggered, labored. The force of entropy is taking hold. Rough trenches wound its territory, their depths unthinkable. In the air whorl clouds of sonic debris: old computers, satellite parts, strange alloys. Across an hour of sound, we toggle between depth and surface, contemplation and distraction interwoven in noise, bearing witness to a fading geography. I first listened to ZULI's mix on a train to Glasgow. In the city, I listened to Denise Ferreira da Silva talk quantum physics and Leibniz's concept of the plenum. She wondered how we could come to perceive the world otherwise, how we could loosen the constraints of coloniality, its ways of knowing and being. I wondered: could listening — hearing — provide us with a way out? Does sound not move us away from the concept? When we listen to ZULI's mix, do we need to know? Or can we not simply enter into its moods, inhabit its structures, and leave with our perceptions altered? In Glasgow, I heard Fred Moten and Nathaniel Mackey talk about debris and decay as a way of getting out from what keeps us under. They wanted an aesthetic of breakage, against wholeness. They want to register history as the sounding of decay, or decay as the sound of history. No smooth lines, but jaggedness, wear and tear. In From a Broken Bottle Traces of Perfume Still Emanate, his epistolary novel, whose interlocutor he names "Angel of Dust," Mackey writes: Dear Angel of Dust, I'm enclosing a tape of my latest composition. I call it "Not of Rock, Not of Wood, Not of Earth" and (here you can say you told me so again) I got the inspiration for it from the work of an artist named Petlin who works in pastels. I saw a canvas of his at the house of a friend not too long ago and was instantly struck by how he manages to make texture constitute itself of its own erosion, infuses color with a certain aura of captured ruin. It seemed he'd worked the powderiness of the medium so as to have it collapse into a capacity for infiltration, that a spectral choir of massed incursions chromatically cloaked itself in vows, in conceptual hoods of deprivation. I was surprised to find myself so moved (and moved to music no less), especially in light of my letter to you a few months back. But what I saw to be the tactile or coloristic counterpart of hoarseness proposed a scratchiness of voice, a self-seeding smudge with overtones of erasure as a possible arc along which our music might pass. I tend to pursue resonance rather than resolution, so I glimpsed a stubborn, albeit improbable world whose arrested glimmer elicited slippages of hieratic drift. Listen to ZULI's We Are All Anemic mix for us below: Forces - "Frontiers of Freedom City & i.o. - "Anxiety Object" Daniel Ruane - "IV (CF BD)" Selm - "Nineteen Voices" xin - "Myopia" YYYY - "lo que hay detras del miedo" First Tone - "Reaction 2" Cy An - "FINALFLIGHT(M)" Shapednoise - "Moby Dick" ft Drew McDowall & Rabit SDEM - "Mitherer" FAKE - "solid scenario" 1127 - "Fragmented. Thought Train" Emptyset - "Blade" 0N4B - "S7" Rainer Veil - "Third Sync" Katsunori Sawa - "Hatsushimo" The Fully Automatic Model - "Long Forgotten Oxids" Constant-Pattern Solutions - "A General Situation" Renick Bell & Fis - "Tchae Eh" Youthman - "29-300" Broshuda - "Leg"

This is a conversation between Keira Greene and the Creaking Breeze Trio. The recording took place at Café OTO project space, London, 27th February, 2019. The Creaking Breeze Trio is Ute Kanngeisser, Paul Abbott and Seymour Wright. The trio is a part of the larger Creaking Breeze Ensemble project (which in addition to the trio includes Evie Ward and Billy Steiger). As a part of Whitstable Biennale 2018, on 10 June, between 4:17pm and 5:17pm The Creaking Breeze Trio performed their new composition 'Slack Fulcrum Twelfths (Green Vitriol)'. Ute plays Cello, Paul plays a snare drum, Seymour plays Alto Saxophone. The composition has been guided by fragments from a series of letters about an imaginary band described in Nathaniel Mackey’s ongoing experimental fiction project 'From A Broken Bottle Traces Of Perfume Still Emanate'. The trio performed their composition, animated by the sea and the wind, at the end of The Street, a shingle spit stretching out half a mile into the sea at low tide.The performance lasted for 60 minutes: during the 30 minutes of ‘slack water’ time either side of the low tide mark at 4.47pm.In addition to the performance, the Trio facilitated a workshop on ‘Fictional Music, Experimental Composition and Performance’. This recording includes the following elements:A recording of the live performance in Whitstable - made by Keira Greene. The conversation that took place in London. Some music influential in the process of working on the composition. A ‘guide’ track listened to by Paul on one headphone, during the live performance. https://www.whitstablebiennale.com/project/slack-fulcrum-twelfths-green-vitriol/

On the third episode of "From the Catbird Seat," Rob Casper goes behind the scenes with Betty Sue Flowers, Mary Szybist, and Danielle Legros Georges, the jurors of the 2016 Bobbitt Prize for Poetry. They discuss their decision to award the prize to Claudia Rankine for her book Citizen, and to Nathaniel Mackey for Lifetime Achievement. Then, we'll listen to a segment from the April 2017 prize event with readings by Rankine and Mackey.

An interview with Fred Moten, professor in the Department of Performance Studies at NYU. The interview focuses on Professor Moten's life and career, particularly his recent volume of criticism called "consent not to be a single being." The Nathaniel Mackey poem "Destination Out," which Moten references at the end of the conversation, is available here: https://www.poetryfoundation.org/poetrymagazine/articles/70124/destination-out. 

Juliana Huxtable & LaTasha N. Nevada Diggs Readings Friday, October 9, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments out of which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. LaTasha N. Nevada Diggs is the author of TwERK (Belladonna, 2013). Her interdisciplinary work has been featured at MoMA, the Walker Art Center and the 2015 Venice Biennale. A native of Harlem, LaTasha is the recipient of numerous awards; of them include New York Foundation for the Arts and the National Endowment for the Arts. For more information click here http://artistsspace.org/programs/huxtable-diggs

Alejandro Miguel Justino Crawford, Ian Hatcher & Sophia Le Fraga Readings Friday, October 16, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments from which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. Ian Hatcher is a writer, programmer, and sound artist whose work explores cognition in context of digital systems. He is the author of Prosthesis (Poor Claudia 2015) and The All-New (Anomalous 2015). With Amaranth Borsuk and Kate Durbin, he is co-creator of Abra, a conjoined analog (artist's book) + digital (iOS app) poetry instrument/spellbook. >> ianhatcher.net For more information click here http://artistsspace.org/programs/crawford-hatcher-le-fraga

Juliana Huxtable & LaTasha N. Nevada Diggs Readings Friday, October 9, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments out of which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. Juliana Huxtable is an artist, poet, performer, and DJ who often uses her own body, gender fluidity, and identity as her primary subject. Huxtable’s work was featured in the 2015 Triennial, Surround Audience at the New Museum, New York (2015), as well as at MoMA PS1, New York (2014); White Columns Annual, White Columns, New York (2014); Take Ecstasy with Me, Whitney Museum of American Art, New York (2014); and Frieze Projects, London (2014), among other venues. She lives and works in New York. For more information click here http://artistsspace.org/programs/huxtable-diggs

Part antiphonal rant, part rhythmic whisper, Nathaniel Mackey reads from his new book of poetry and talks about his writing to an audience at UC Santa Cruz where he is a professor of literature. Mackey recently received the 2006 National Book Award for poetry. [Humanities] [Show ID: 12221]

Part antiphonal rant, part rhythmic whisper, Nathaniel Mackey reads from his new book of poetry and talks about his writing to an audience at UC Santa Cruz where he is a professor of literature. Mackey recently received the 2006 National Book Award for poetry. [Humanities] [Show ID: 12221]

Part antiphonal rant, part rhythmic whisper, Nathaniel Mackey reads from his new book of poetry and talks about his writing to an audience at UC Santa Cruz where he is a professor of literature. Mackey recently received the 2006 National Book Award for poetry. [Humanities] [Show ID: 12221]

Part antiphonal rant, part rhythmic whisper, Nathaniel Mackey reads from his new book of poetry and talks about his writing to an audience at UC Santa Cruz where he is a professor of literature. Mackey recently received the 2006 National Book Award for poetry. [Humanities] [Show ID: 12221]