Monday, March 12, 2018

5 Poems by Jennifer K Dick in Women Poetry Migration a Theenk Books anthology

Now out, containing 5 of my poems from my forthcoming Eyewear, London, UK book That Which I Touch Has No Name (2019) is the anthology Women: Poetry: Migration (Theenk Books, 2018). Each poetry selection is followed by a mini essay by the author, such as one found in the great experimental poetry anthology a few years back edited by Etter, one of the poets in this collection which is here edited and prefaced by Jane Joritz-Nakagawa.

The book "women: poetry: migration [an anthology]", 326 pp., ISBN 978-0-9883891-6-8, $25.00 USD, is edited by Jane Joritz-Nakagawa, featuring poetry and accompanying essays by 50 women living in a country other than that of their birth, and it is now on sale.  

I am thrilled to find my work next to poets I have LONG admired, such as Rosmarie Waldrop, Norma Cole or N Nourbese Philip as well as friends whose work I continue to admire greatly, such as Donna Stonecipher, Jody Pou, Barbara Beck, Adeena Karasick, Yuko Otamo and MANY others I will hope you will go and discover for yourselves!

Visit the publisher's website to order, theenk Books:  For a list of the contributors, please visit the website.  Inquiries: theenkbooks(at)
What some readers and Critics have had to say about this anthology:

"Exile (to echo Edmond Jabès) is a fundamental condition of poetry.These 50 poets make diaspora home ground. They are the lightning rods of a non-national poetry of “between” that pushes against nativism through sheer aesthetic exuberance and necessity of innovation." -- CHARLES BERNSTEIN

"Women : Poetry : Migration is a superb, refreshing anthology.  As nationalism and the rigidity of territorial and linguistic boundaries, under challenge, erode, this anthology of poetry by women provides a wide-ranging and innovative look at this migratory time in the writing of poetry.  Migratory in terms of place and the changing nature of location, undergoing challenge and redefinition in terms of gender identity, and in transit as a polylingual consciousness and multilingual ways of writing become more and more evident.  My congratulations to the editor for her vision, imagination, and persistence, and to the women who have contributed such remarkable writing to the anthology." --HANK LAZER

"Jane Joritz-Nakagawa has undertaken a remarkable editorial task in bringing together avant-garde women poets who are also migrants.  If, as Susan Suleiman wrote, the avant-garde woman poet is doubly marginalised, then these poets are in a triple lock of marginalisation.  Yet, as the anthology demonstrates, this can be a source of strength and transformation, which gives them a centrality, not only in their own lives, but in the cultural development of their adopted country.  Indeed, some of these poets have played a crucial role in shaking up mainstream poetics."--FRANCE PRESLEY

"“on google earth I write down my name” writes Ania Walwicz in this ecstatic anthology, women: poetry: migration. With sharp eye and ear, Jane Joritz-Nakagawa has gathered arresting, often experimental, poetry by women living outside the lands of their birth. These are poems where the “trans” – translation; transculture; transformation –inhabits the unsettling language of identity and location, with multiplicity, cosmopolitanism and the “push and pull” (Bella Li) of writing desire. Every page offers shifts of imagery or perspective as witness to embodiment, alterity, and hybridities of language. In the plural worlds of the poets, we hear how border crossing constructs a life (Fawzia Afzal-Khan) and “utopianism” always “goes wrong” (Donna Stonecipher)." --ANNE ELVEY

“Where am I going? I am getting there.”  Amanda Ngoho Reavey’s words might serve as a motto for this wide-ranging, transnational anthology, which gathers 50 women poets who live in countries other than the ones in which they were born.  This premise is the spark for an explosion of aesthetic experimentation that both maps and crosses boundaries of gender and nation.  From the shuttling between Japan and Canada, Vietnam and Australia, or Zimbabwe and the United States, the authors gathered here elucidate a poetics formed in process."--TIMOTHY YU

"My response to this collection is subjective as I was once someone who lived and wrote for a while outside of my native land. In women: poetry: migration, I could relive the excitement of pleasurable dislocation I felt some of the time I lived abroad. For instance, I liked experimenting or “deconsecrating” one language with another language to “make it clearer” (Jody Pou) and discovering through writing “what I don’t know” (Tsitsi Jaji). That being said, this collection is open to any reader who is engaged by thoughtful, sensual, humorous and political ideas.  In her essay in this anthology, Rosemarie Waldrop concludes, “If the poem works…it will set off vibrations in the reader, an experience with language — with the way it defines us as human beings.” I certainly felt the reverberation of language(s) as I read the poems and essays in this collection. It’s up to us as readers what we do next." --DEBORAH RICHARDS

"This anthology edited by Jane Joritz-Nakagawa is more than a poetic fact. It is a political fact because it presents to the public poets displaced from their countries and in a real conflict with theircultures. Perhaps this is the definition of poetry: art in conflict with language and origin. Jane Joritz-Nakagawa offers to the reader double exiles: the exile of the tongue and the full "exile" of the female voice in patriarchal societies. Joritz-Nakagawa, in the words of the Brazilian modernist poet Oswald de Andrade, reinstitutes the "matriarchy of Pindorama." It is a work of breadth and rigor, which deserves all attention and applause. As contributor Safaa Fathy says: “I write about what I lost.” Migrating is at the center of being a poet; the book also answers the question of what poetry is. And maybe this is the gain that Joritz-Nakagawa’s anthology brings."--REGIS BONVICINO

Tuesday, February 06, 2018

Forthcoming talk announcement A Cyborgian Metaphysics of the Poetic Self

I am thrilled to announce that the thrilling SAIT group (Arts Images Textes) in France has accepted my proposal for a talk for the 2018 58th SAES conference at Nanterre University in Paris, 7-9 juin 2018 on the topic of Revolution(s) where Angela Davis (can you believe it!) is the invited speaker of honor for the general SAES Keynote.

My talk title and information are below in case you wish to check them out. I have some work to do before then for this and feel thrilled to be engaging more deeply with the writing of Bhanu Kapil and Jacques Sivan--two authors I amire personally, read and reread avidly and whose work I have addressed separately in quite different manners during previous conferences. Bringing the two together and under the umbrella of Cyborgs is going to be a fabulous experience for me!

A Cyborgian Metaphysics of the Poetic Self: Bhanu Kapil and Jacques Sivan
abstract proposal by Jennifer K Dick,
MdC, UHA Mulhouse, Labo de recherche: ILLE

This comparative talk plans to explore the imagined Cyborg as self and the metaphysical questions this alternative, dual reality imposes on the writing of poetic autobiography as seen in works by Amercan-based of Indian background author Bhanu Kapil (specifically Incubation: A Space for Monsters, Leon Works, 2006) and French author Jacques Sivan (specifically Notre Mission, Al Dante, 2018 and the manuscripts for this work). In both texts the individual is subsumed or paralleled by a kind of avatar, the cyborgian body (A.I. mechanical vs biological). The exploration of autobiography within a space of multiple identities (both digital and biological), reader-text interface, gender, desire and sexuality, travel/migration, and notions of truth when speaking of the author/narrator/speaker as “I” are subjected to innovative and complex renderings because of this cybernetic virtual reality. In the case of Kapil, the desire seems to be to render the past into current multiplicities of identity whereas for Sivan the result, as he composes this unfinished manuscript while dying of cancer and becoming, as he said directly, a kind of real cyborg as his biological functions became increasingly mechanized due to interventions by medical science, is to project himself beyond his life into his alter ego, Aborijak. In Sivan’s case, this Cyborg of the last generation, “more advanced than Hal 2000”, and who will reach into the future, into our now, the next now, as current and future generations of readers interface with the text, also touches on Cryogenics, AI post-biological mortality projecting the author into an imagined digital immortality: the book literally becomes “Notre Mission”.
These works are not digital creations, but they explore the metaphoric and metaphysical issues inherent in our internet-connected increasingly robotic worlds where existence, interchange, and digital reality subsume the “real real”—raising the question of what is lived experience, and how do contemporary artists and authors engage with this question in the digital era?

Critical work supporting my close examination of Kapil and Sivan’s books will come from many of the books cited in the SAIT group's CFP, such as Donna Haraway, Katherine N Hales or Jens Hauser and may also extend into authors which they have listed but which I am only now reading for the first time—in particular Aarseth, Bontems, Braidoti or Vial’s works and the collection Le sujet digital.

Bio note:
Jennifer K Dick competed her PhD at Paris III in Comparative Literature in 2009 and has since 2010 been working as a MdC at UHA, Mulhouse. She is a specialist in 20th-21st century text and image work, specifically in poetry and language-based visual art work, though has also published in the arena of translation in social sciences. She is currently the French co-organizing partner in the 18-month long Arts and Humanities Research Council grant-receiving fellowship for a series of 3 conferences on “Poetry in Expanded Translation” 2017-2018. The first was translation as rewriting (held at The National Poetry Library, Southbank Centre, London April 2017), the second on intersemiotic translation between text and image (held at UHA, Mulhouse in Nov 2017) and third is on Visual Sound and translation as re-sounding work (to be held in Bangor, Wales in April 2018).