Tuesday, October 11, 2016

New Poems in Print by Jennifer K Dick in Tears in the Fence and The Bastille

Getting the poems to roll out of the house and into the world is not always easy. We poets tend to obsess and revise and hold tight to the shards of language we have collected onto our pages. But out into the world they must, and with such joy it is I have had the pleasure of seeing a few of my poems land in great places this fall. And one even pictured above, left, on the wall of Le Chat Noir last week thanks to The Bastille!
Photo: Sabine Dundure Photography
In fact, I am thrilled to be part of the newest issue of THE BASTILLE. Issue n°4 is replete with exciting writing and amazing graphics and a lovely gallery of great photos by the Spoken Word in house photographer. You can pick up issues on their website via Paypal or get a copy any Monday, Weds night at Spoken Word Readings!  This issue had a theme: "The Many Faces of Jesse" and I loved seeing my Jesse James timetravel machine CERN poem alongside so many other versions of Jesse's!

First off, THANK you to the fabulous editors and lay out masters at TEARS IN THE FENCE in the UK--David Caddy and Westrow Cooper. It was also great to see my poems next to those of a great friend and fabulous author Greg Bachar. My poems CERN 51, CERN 52, CERN 54, CERN 56, CERN 67,  "Microcosms" and "There is something about" appear in Tears in The Fence, n° 64, September 2016, on pages 94-97. Go to https://tearsinthefence.com/ to subscribe/order a copy. Also consider checking in with them on their FB group page, where you will see I am also named as a columnist--and I am planning on getting the next column in for issue 65 soon!
As they tell you, in this issue: We have poetry, fiction and translations from Jeremy Reed, Jim Burns, John Welch, John Freeman, Sally Dutton, Chris Hall, Michael Henry, Beth Davyson, Kinga Tóth, Paul Kareem Tayyar, D. I., Lydia Unsworth, David Pollard, Mike Duggan, Jeff Hilson, Sheila Mannix, I.S. Rowley, Richard Foreman, Jay Ramsay, Alison Winch, Andrew Taylor, Alan Baker, Sophie Herxheimer, L. Kiew, Ric Hool, S.J. Litherland, Rachael Clyne, Andrew Shelley, Tom Cowin, Morag Kiziewicz, Matt Bryden, Jessica Mookherjee, John Phillips, Ian Brinton & Michael Grant trans. Mallarmé, Terence J. Dooley trans. Mario Martin Giljó, Greg Bachar, Jennifer K. Dick, Matthew Carbery, Mark Goodwin, Aidan Semmens, Peter Dent, Sarah Cave, Julie Irigaray and Maria Isokova Bennett. The critical section features John Freeman on Jim Burns: Poet as Witness, Andrew Henon on Timeless Man: Sven Berlin, Mary Woodward on Rosemary Tonks & Veronica Forrest-Thomson, Jeremy Reed on John Wieners, Norman Jope on Chris McCabe, Marsha de la O in conversation with John Brantingham, Neil Leadbeater on Jeremy Hilton, Nancy Gaffield on Geraldine Monk, Lesley Saunders on Alice Miller, Belinda Cooke on Carole Satyamurti, Steve Spence on Dear World and Everyone in it David Caddy on Andrew Lees’ Mentored by a Madman, Nigel Wood & Alan Halsey, Duncan Mackay on E.E. Cummings
, Notes on Contributors, and Ian Brinton’s Afterword.

It was also lovely to share in the launch reading evening at Spoken Word for the new issue--and to see the surprised faces of the designer, editors and support authors (Bruce Edward Sherfield at the left, Vincent Chabany-Douarre in middle and Troy Yorke, pictured on right) as the issue was unveiled: 
Photo: Sabine Dundure Photography

Sunday, October 09, 2016

Ivy this Tuesday with Nicolas Tardy and Geneva Chao

In case you are free and in Paris: I am excited to be meeting these two authors in person for the first time and to hear their work! At 19h30, 34 bvd bonne nouvelle in Paris. M° Bonne nouvelle

Sunday, September 25, 2016

Keepin' up with Ivy Writers Paris season 2016-2017

As a teacher, author, organizer, editor and reviewer, sometimes I feel like a clown with a stack of wobbly plates balanced atop high sticks, wondering which will tumble down and shatter first. But at other times, I feel the multitude of activities I am thrilled and enriched by being involved in click together so that the whole of what is possible resonates in unison with and through all of these activities. And this is how I am feeling this fall as Ivy Writers Paris steps into a new dress: and comes out in a glitzy "we are now officially an association 1901" gown. 

The goal of the IVY WRITERS PARIS 1901 association will be to make a fabulous anthology of Ivy's many years of writers gatherig together--thus to get the funding together and translators and some graphic artists to make this book a reality. 

For 11+ years now the Ivy Writers Paris bilingual reading series has thrived thanks to its audience and the poets that have graciously come from whereever they live in the vast world to share their works with us, and of course thanks to the bookstores, galleries, bars and nightclubs that have housed us and invited us to share in their space. The efforts to get the Ivy emails, blog, FB pages, Instagram and Twitter up and running and keep the info flowing also have been all volunteer run. And so so so much thanks goes to everyone for that. Now, of course, Ivy will call out in new ways--in hopes that the support from friends and new friends as they become members and help this project come into fruition, can make this IVY anthology a reality. Other tangential projects we hope to soon see emerging is an IVY Youtube station where we get up some of the MANY videos I and others have stored in our computers, or a MP3 hub of recorded readings by our Ivy authors.  

But, as all of this gets underway, the series is excited to see its next season thriving--and most important to me is to see you at a reading or two or all of them this year if you are free. So, here is what I have gotten scheduled and set in store thus far for the SEASON 2016-2017 of Ivy Writers Paris:

 RDV au bar du Café Delaville, 34 bvd bonne nouvelle 75010 Paris, M° Bonne Nouvelle
LUNDI le 26 septembre 2016 : 19h30 Marie de Quatrebarbes et Heather Hartley

MARDI le 11 octobre 2016 : 19h30 Nicolas Tardy et Geneva Chao

MARDI le 15 novembre 2016 : 19h30 Jacques Jouet et Mia You

MARDI le 6 décembre 2016 : 19h30 Emmanuèle Jawad et Elisabeth Jacquet (2 poètes qui liront en français où Ivy présentera des traductions inédites en anglais des leurs textes)

MARDI le 24 janvier 2017 : 19h30 Laurent Grisel et TBC

MARDI le 14 février 2017 : 19h30 lecteurs à confirmer (VEGA?)

MARDI 21 mars 2017 : 19h* (notez l’heure svp) soirée spéciale organisée en partenariat avec The University of Chicago symposium on Franco-American Poetry and translation qui aura lieu cette semaine à Paris. Lectures par les auteurs français et américains : Rosanna Warren, Henri Droguet, Cole Swensen , Suzanne Doppelt, Alexander Dickow, Aude Pivin

MARDI 11 avril 2017 : 19h30 lecteurs TBC

MARDI 23 mai 2017 : 19h30  Lynn Emanuel et lecteur français TBC

MARDI juin 2017 : 19h30 deux lectures : dates, lieux et lecteurs TBC

Thursday, September 01, 2016

Collectif 2 Documenta film by Gilles Weinzaepflan

For the second time, I was part of a summer collaboratif writing and art project with a set of French and Italian poets. This one, subtitled "Spaghetti Western" or, by me, Documenta, will be publishing various verbal and visual results over the nex months. One of the first available is the film that GILLES WEINZAEPFLAN made. I was honored to be part of the film--both during the final scene at the table and in the role as Veriano--one of the three converts who is martyred--in the black and white scenes here. The presence of the beautiful countryside of Italy and in particular of Piane di Bronzo where we lived and worked together, and of the ever present cats who refused to remain off camera as Gilles filmed, is an extra plus. Check out the film BEATI TUSCANI on Youtube!


Sunday, July 10, 2016

Day3 of VizJournalPoem Project by Jennifer K Dick

(30x42cm//11.75x16.5". Pastel and charcoal)

Thursday, July 07, 2016

The Enigmatic Torque of Elena Rivera summer reading project 1

The enigmatic torque of Elena Rivera
Summer project—I have a particular knack for starting projects. There is excitement in that new breath, all hope and possibility in the emerging unknown encounter—it is like taking off along a road you had never noticed was right there, in your own neighborhood, and hoping it will lead you to see an entirely new city. Determination, of course, is part of project creation—and an initial sense of duty, as well as the desire to see the project flourish and be completed one day. You start with the belief it will. I am starting with the belief it will. To make that possible, I’ve realized from many prematurely abandoned projects that it is wise not to put too many constraints on the project, not to demand too much of yourself every day.
And so, on this, my first official night of the French “vacances”, entering a summer of completing critical and creative books, I have decided to read more—and that my newest project, my summer reading project, will be to post little mini thoughts about the books and chapbooks that I read in my friend’s houses, at the BNF, on the road. Not reviews—but a note on something that caught my eye or ear. Something of note in the reading of the day.
Today I begin with a little booklet I perused but had not read with attention before tonight. It has been among the pile of books to review that never got reviewed (I do what I can, but am only one me!) The first reading here on the train that is rushing at 300KM/hour towards Paris from Mulhouse, dipping southward towards Belfort then over to Dijon, the sun still bright in the evening sky, was so quick to complete I began again and gave it a second read, and then a third—it is On the Nature of Position and Tone, by Elena Rivera (Field Press: New York and Chicago, 2012).
I have two sets of thoughts on this chapbook: one is on the book itself—folded and bound with string that has been carefully planned to tie so that the interior knot opens the chapbook to the title page for Part II—Already on Different Sides. The chapbook is printed on a slightly off-white paper, just a tinge of the egg cream tone to it, which is comforting to look at. The black and white cover image is a gorgeous, seductive photo (by unknown) of Vanishing Ship (third state), a sculpture by John Roloff. The image seems a mirror or a kind of botanical garden glass greenhouse-ship’s bow emerging from the forest which perhaps contains unbeknownst to us (or even the artist) the first page, the first stanza of Elena’s delicate, mysterious poem—which also seems to be just hinting at the unseen, underground body behind the few visible words “just” emerging from the “fog” she mentions so often in this book-length poem:
In a field of blooming thistle
a sensual response
Give me oblivion
as of emotion
Here, two unpunctuated couplets signaled as such by the use of capitalization and by the rhyme of the second, already evoke-provoke-elicit reactions, but not intellectual ones, instead they are “sensual”. The called-forth response is about feeling and about the attempt to not feel, to forget in the witnessing instant. But forget what? The prickle of thistle, or its bright flash of inviting color? Which do we choose to imagine, to see in our minds, to reach out to? To suckle or get stabbed by? A thistle is a hardy, strong plant, a weed with hidden sweetness, which seems to be groping for release, and here there is the voice of the one (presumably Elena, the poet) seeing the thistle’s moment of blooming as if it is responding—but to what? The poet? A rain that has passed? Summer? Another season? Or some more opaque connection only known to a plant’s roots?
I could sit all the hours of the train ride and keep looking into that field and that combination of oblivion-emotion, but what surges forth is the command “Give me” that reoccurs later in the book as Rivera writes a few pages on: “Give me rapture!” and later still “Give me choices” and near the end “a rattler” says “Give me a twist”. There is a need, as she tells us in: “Chorus: Need more, seek more, want more” and “at the crossroads needing something more to go on” as well as “Went to the wishing circle to wish for the wish that would turn the world//around”. The longing, like all desires, remains unquenchable in this chapbook. Meanwhile, these landscapes delicately sketched with gaps and elliptical lines stretching towards various horizons, is pocked with the possibility of disaster (loss: “Mourning the morning in the evening” or “her fall”; fire: “Which tree will be resistant to fire”; unknown: “it all happened so quickly”; accident/hunting: “Dear deer mowed down”; amnesia and loss: “What am I without my memory/My family”) or with the option of release into some state of wonderment.
As I close the chapbook, I select the last option, returning to her line near the start of Part II: “I have...been shaken by reading the ocean”. That seems like a great way to spend the summer, reading the ocean, watching in wonderment the way the world undulates regardless of what is happening within us, or around us, or to us. I am here “Trying for buoyancy on the surface”.


Tuesday, June 28, 2016

Paris Writers' Workshop Faculty Reading Wednesday 29th June 2016

credit: Keenasmustard.com

29 June 2016 at 6pm: Jennifer K Dick (poet), Ayana Mathis (novelist), Michelle Huneven (nonfiction writer), and Nahid Rachlin (novella/short story author) will read at Berkeley Books of Paris for the Paris Writers Workshop Faculty Reading. Berkeley Books, 8 rue Casimir Delavigne, 75006 Paris. M° Odéon or RER B

I will be reading entirely new work from the manuscript That Which I Touch Has No Name, completed this June. In fact, I will be reading from the last section I finished while in Amsterdam just a few weeks ago--so will be testing the waters.

So I hope you can join me/us for this event!

Reader BIOS:
Avana Mathis is Assistant Professor of English and Creative Writing for the Iowa Writers' Workshop. The Twelve Tribes Of Hattie, her first novel, was a New York Times Bestseller, a 2013 New York Times Notable Book of the Year, an NPR Best Book of 2013 and was chosen by Oprah Winfrey as the second selection for Oprah’s Book Club 2.0.She has also been a frequent contributor for the N.Y. Times Book Review, the Financial Times, Esquire, and The Atlantic.

Michelle Huneven has published a nonfiction book, The Tao Gals Guide to Real Estate, and four novels. Her short fiction has been published in Harpers, Redbook, and Ms. magazine. She has taught at the Iowa Writers’ Workshop, Antioch College, and Bennington College, and is currently a lecturer at UCLA.
Nahid Rachlin’s publications include a memoir, Persian Girls; four novels, Jumping Over Fire, Foreigner, Married To A StrangerThe Heart’s Desire; and a collection of short stories, Veils. Her novella, Crowd of Sorrows, and individual short stories have appeared in more than fifty magazines. She has taught for Barnard College, Yale University and for various workshops in Europe such as the PWW and the Geneva Writers' Conference. 

Jennifer K Dick is the author of Circuits (2013), Enclosures (2007), Florescence (2004) and 5 chapbooks. Her collaborative projects include the live show Traces de son amant qui s’en va (2015) and Le Moulin Collectif, including vocal appearance in Gilles Weinzaepflan’s film Le Moulin: https://vimeo.com/101581345. She is Maître de Conférences at the Université de Haute Alsace in Mulhouse, France.

For more complete bios of all of the faculty of PWW, 
see the PWW Master Class Faculty page:

Sunday, June 26, 2016

Paris Writers Workshop Poetry Workshop with Jennifer K Dick

The Art Of Poetry Writing With Writer-In-Residence Jennifer K Dick
Course Description: “Which is skin, which flesh, which skeleton–form, content– is impossible to discern: They’re part of one body of motion.” So contends Marilyn Hacker in her article, “A Few Cranky Paragraphs on Form and Content.” As she notes, often contemporary poets fail to fully explore the extent to which various forms can enhance and enliven their message.  This course will test out the possibilities of form, from the bases of Hackeresque meters in English poetry in sonnets remaining loyal to the use of iambic pentameter to Troubadour forms such as the sestina as explored across the twentieth century to the ways form can be understood as loosely as visual placement of words on the page, in the line or in a prose poem paragraph. The attention will be on the progression of line to stanza to poem, from the point of writing to final revision, thus the outside of the body, that skin, to the inside, and how form stitches itself into the marrow, the deepest bone of what desires to be expressed in a poem. It is never what a poem says that makes it unforgettable, but how: and this week we will hone and sharpen our work via reading, writing and revision. This workshop should leave you with some tools you can build on when you return home.

As the PWW page announces:
"... the 28th edition of the Paris Writers’ Workshop (PWW), the longest-established English-language creative writing program in France. PWW 2016 will be held 26 June – 1 July. PWW is a special program of WICE, an anglophone organization in Paris promoting continuing education.
This year we have the distinct honor of conducting our classes at UNESCO Headquarters, in the heart of Paris. Auxiliary events will be held at a variety of historic Paris locations.
The workshop will open with a mandatory registration reception on Sunday, 26 June. On Monday morning, 27 June, our intensive master classes will begin. 
Choose from four master classes taught by distinguished authors:
  • Writing Novels led by Ayana Mathis
  • Writing Short Stories and Novellas led by Nahid Rachlin
  • Writing Poetry led by Jennifer K Dick
  • Writing Creative Nonfiction led by Michelle Huneven
In addition to the morning master classes, the workshop will also include an expert panel, author readings and social events. We invite you to be a part of our international community. Come hone your writing skills with guidance from accomplished instructors. Surround yourself with other writers who are working to elevate their craft. Immerse yourself in Paris, the city that has inspired authors and creative minds for generations."
Click here to register for Paris Writers’ Workshop 2016.

Tuesday, June 07, 2016

Book Review at Jacket2 of Donna Stonecipher's Model City

So excited to see my book review of DONNA STONECIPHER'S fabulous book MODEL CITY (called "The Urban Interior-Exterior Ideal")  up and available for perusal. And I am also very thankful for the edits and close readings of Kenna over at Jacket2, who helped get this polished like a shiny little stone!!! Enjoy! https://jacket2.org/reviews/urban-interior-exterior-ideal

FYI: Future book reviews are cookin' in the pan, so keep your eyes peeled for announcements as they arrive on your screens--perhaps next fall.