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&NOW Festival 2018 (Notre Dame, IN)
October 5 – October 7
Saturday, October 10 at 9:00 p.m.
Location: 102 DeBartolo Hall
Counter-Desecration: Critical Making for Catastrophic Times
In catastrophic times, new collectivies emerge & respond. The issue of intervention into the dominant and destructive narratives of progress that rule our age is taken up in Anna Tsing’s The Mushroom at the End of the World, where she envisions collaboration as a means of reimagining and remaking the future. Her emphasis on biological resurgence compels us to consider how we might reorganize our own social processes – as writers, as collectivities of (re)writers, and as writers-with – to generate new meanings and actions, to shift the narrative and its frames. This reading presents participants in Counter-Desecration: a Glossary for Writing within the Anthropocene (Wesleyan UP, 2018), a collaborative intervention that responds to the need to critically and creatively inhabit our new political and ecological realities. The contributors’ words – 135 common terms, repurposed words, and neologisms – map new perspectives that together provide ways to approach the interlinked social, economic, and environmental forces that shape us, the places we live, and our relationship to them, to each other, and to other species. As Allison Adelle Hedge Coke writes in her Preface, “Counter-Desecration brings sustenance and power with terms made in collective remedying.” What makes Counter-Desecration unique among contemporary anthropocene glossary projects is the brevity of the entries (each no more than 200 words) and the diversity of their forms (narratives, poems, lists, manifestoes, meditations, and microessays).
Shanna Compton with Vidhu Aggarwal, Kimberly Alidio, chris cheek, Matthew Cooperman, Jill Darling, Thom Donovan, Aja Couchois Duncan, Suzi F. Garcia, Brenda Iijima, Dana Teen Lomax
Saturday October 10 at 2:35 p.m.
Location: 131 DeBartolo Hall
The Book As Lyric Medium: A Panel for the &NOW Conference
In “Experiment as a Claim of the Book: Twenty Different Fruits on One Different Tree,” from his 2004 monograph Syncopations: The Stress of Innovation in Contemporary American Poetry, Jed Rasula argues that “the vast bulk of poetry fails to take up the challenge of the book as medium.” He then celebrates some feminist pioneers of the book-length experiment—Kimiko Hahn, Ann Lauterbach, Ann Carson, Lyn Hejinian, Joan Retallack, Harryette Mullen and fourteen others—for the political and aesthetic implications of their work in the late 90s and early 2000s. The ambition of this reading and panel is to expand that field to include women poets working from other traditions, to widen the scope of what’s at stake when a woman poet embarks on a long-form project, and to explore the book-length poem as an important form of literary and social activism. My ambition is that an international panel of female poets will talk about taking on the challenge of the book as lyric medium in the twenty-first century. After reading from their own book-length projects, panelists will address questions like: what provocations and urgencies are suited to the book-length sequence and what techniques are necessary to sustain a long-form project? What’s at stake, personally, politically and aesthetically? What do we gain by compounding the method of the lyric with the narrative structure of the book? How does the long-form poem redefine notions of story and story-teller? I imagine ten-minute readings by five authors, followed by fifteen minutes of moderated conversation and ten minutes of general Q&A.
Shanna Compton with Catie Rosemugy, Sandra Simonds & Jennifer Firestone, moderated by Dr. Emily Carr.
Bloof Books will also be participating the the festival book fair.
Full festival schedule here.