Biographies & Notes

 

Born in Vietnam, Mong-Lan, poet, writer, painter, photographer, and avid Argentine tango dancer, left her native country on the last day of evacuation of Saigon in 1975.  Author of Song of the Cicadas (Juniper Prize, UMASS Press, 2001) and Why is the Edge Always Windy? (Tupelo Press, 2005), she presently lives in Tokyo, Japan. She has read, lectured, and presented her artwork in Argentina, Germany, Japan, Switzerland, and in the U.S.  More information about her at her website: http://www.monglan.com. About this poem, she writes: "Argentine Tango: Observations While Dancing (Part 4)" comes from a book length manuscript of poems called "Milonga—A Seismology." In writing this book, I pull from my extensive training in the Argentine tango from many visits to Buenos Aires, studying with the great masters of the dance.  The book is an exploration of the Argentine tango, the roles of male and female, leader and follower, anima and animus.  A "milonga" is the name of a dance, precursor to the tango, but more lively and playful.  A "milonga" is also the name of a dance hall or bar or place where people come together to dance Argentine tango socially.

 

Ashley VanDoorn was raised in South Carolina and Tennessee. She received an MFA in poetry from the University of Oregon, and now lives in Georgia. One "device" poem is in the most recent issue of Typo, and several are forthcoming in GlitterPony. She has also published online at No Tell Motel and WebConjunctions, and in print at American Letters & Commentary, Seneca Review, Northwest Review, and Gulf Coast. She writes, "The 'devices' poems are a series where I used various symbols from the keyboard and the 'insert symbol' function to create a graphic element as prompt for a title, and then I used the title as prompt for a text. The only other rule I assigned myself was that each of the poems have a different formal/spatial arrangement and that they could also correspond with each other. 'scrutiny device' is inspired by the microscope and how things take on textures (even architectures!) when viewed through it. Also, I was obsessed with miniatures for a while, which probably informs all of this series to some extent. In 'obscene device,' the bit about the island was reported in The Omnibus Believe It or Not, by Robert L. Ripley (1934?). I was also influenced by several essays in Modern Art and the Grotesque, edited by Frances S. Connelly. In 'device for hope' I wanted to build a kind of changeable still-life. Also, flies are inspiring to me because of their ability to turn death and decay back into life. See Christine Hume’s book Musca Domestica for some fabulous poems related to this subject."

 

Ada Limón is originally from Sonoma, California. A graduate of the Creative Writing Program at New York University, she has received fellowships from the Provincetown Fine Arts Work Center, New York Foundation for the Arts, and won the Chicago Literary Award for Poetry. Her debut collection, lucky wreck, was the winner of the 2005 Autumn House Poetry Prize. She lives in Brooklyn, New York. These three poems are from a her second book (a story in verse), due out in Fall 2006 from Pearl Editions called This Big Fake World. She is neither the Hardware Lady nor Our Hero, but she greatly admires them both.

 

Scott Glassman lives in Palmyra, NJ, and works for a medical testing company. His poems have appeared or are forthcoming in Iowa Review, Dusie, eratio, Shampoo, Free Verse, CutBank, Epicenter, Cranky, The Argotist, Unpleasant Event Schedule, Sentence, The Cortland Review, and others. He curates the INVERSE poetry series in Philadelphia (http://inversepoetry.com) and has a chapbook forthcoming from Dusie Press. More of his poems can be found at http://scottglassman.blogspot.com. He writes, "Fierce Grace" is the title of a 2002 documentary on Ram Dass, and the poem is an accelerator of sorts that smashes together dissimilar realities as reported on CNN.COM on April 14th, 2006.  "Nerve Endings" represents my attempt to exorcise my fears one at a time; it’s an abundant library and I’m sure, will take decades.

 

John Cotter's work has appeared in 3rd bed, Hanging Loose, Good Foot, Snow MonkeyThe Surgery of Modern Warfare, and elsewhere. Some of his poems will appear next year in an as-yet untitled anthology from Flim Forum press. Information about his newly completed novel, Under the Small Lights, as well as recent and forthcoming theatrical projects, can be located at www.johncotter.net.

 

Lyn Hejinian’s most recent published books of poetry include A Border Comedy (Granary Books, 2001), Slowly and The Beginner (both published by Tuumba Press, 2002), My Life in the Nineties (Shark Books, 2003), and The Fatalist (Omnidawn, 2003). Since 1976, Hejinian has been the editor of Tuumba Press and from 1981 to 1999 she was the co-editor (with Barrett Watten) of Poetics Journal. She is currently the co-director (with Travis Ortiz) of Atelos, a literary project commissioning and publishing cross-genre work by poets. Other collaborative projects include a work entitled The Eye of Enduring undertaken with the painter Diane Andrews Hall and exhibited in 1996, a composition entitled Qúê Trân with music by John Zorn and text by Hejinian, two mixed media books (The Traveler and the Hill and the Hill and The Lake) created with the painter Emilie Clark, and the award-winning experimental documentary film Letters Not About Love, directed by Jacki Ochs. She teaches in the English Department at the University of California, Berkeley.

 

Joshua Marie Wilkinson was born and raised in Seattle.  He is the author of Lug Your Careless Body out of the Careful Dusk, out recently with U of Iowa Press and A Ghost as King of the Rabbits (NMP, 2005). His first book, Suspension of a Secret in Abandoned Rooms, was released by Pinball Publishing last summer. He is working on a book-length collaboration with Noah Eli Gordon. New work is out or forthcoming in West Branch, Parthenon West Review, CUE, and online at La Petite Zine, H_NGM_N, Elimae, and elsewhere.  He keeps a links page at http://eyelashfire.blogspot.com. He writes, "This poem is part of series of 'Books' of fragments composed in Winter/Spring of 2005-2006 based largely on the animal kingdom, memory, forgetting, and film, and composed while I was listening mostly to Cass McCombs' record "A" and "Ballad of the Broken Seas" by Isobel Campbell and Mark Lanegan.  Every week in 2006 I watch Antonioni's film La Notte (1961) at least once, so surely that's filtered its way into everything I do as well.  Another part of 'The Book of Falling Asleep in the Bathtub & Snow' is due out in the Summer issue of Colorado Review."

 

Katie Degentesh lives in New York City. Her poems and writings have appeared in Shiny, Fence, the Poetry Project Newsletter, and numerous other venues. These poems are from THE ANGER SCALE, a book-length series just published by Combo Books. Each poem in the series is titled with a question from the MMPI (Minnesota Multiphasic Personality Inventory) and constructed with the help of Internet search engines.

 

Gina Myers is originally from Saginaw, MI.  She currently lives in Brooklyn where she co-edits the tiny with Gabriella Torres. Other collaborations with Dustin Williamson are forthcoming in LIT.

Dustin Williamson edits the Rust Buckle magazine and chapbook series. He is the author of the chapbooks Heavy Panda (Goodbye Better) and Gorilla Dust (forthcoming from Open 24 Hour Press). Note on the collaboration: These poems were written back and forth over email using a variety of arbitrary methods, by Gina and I, at our respective jobs. It's really the only thing I did at work, besides steal supplies, laugh at gmail's targeted ads, and leave early every day.

 

Johannes Goransson writes, "I'm the co-editor of Action,Yes and Action Books, which published my book of translations Remainland: Selected Poems of Aase Berg last fall. This winter Ugly Duckling Presse is publishing my translations of Finland-Swedish Modernist Henry Parland's (1908-1930) seminal collection Idealrealisation (1929). I have recently edited special Swedish poetry issues of Typo and Fourteen Hills."

 

Noah Eli Gordon has two books forthcoming in 2007: Novel Pictorial Noise (selected by John Ashbery for the National Poetry Series) and A Fiddle Pulled From the Throat of a Sparrow. He keeps a page of links here: http://humanverb.blogspot.com/. He writes, "'Approaching Transmission' samples a line from an older poem of mine called 'What Ever Belongs In The Circle,' whose title itself is a sample from Spicer. 'A Sluggish Root…' was written after reading Elizabeth Willis' amazing Meteoric Flowers.  I suppose I mean the 'sluggish root' bit to be an inversion of Willis' title. The two paragraphs here are dub versions (booyaka!) of work from my forthcoming book Novel Pictorial Noise, and as such should be read with the requisite reverb turned up."

 

Kristen Hanlon is the editor of Xantippe, an annual print journal for poetry & reviews of small press/university press books. Her chapbook, Proximity Talks, is available from Noemi Press. "Seek" was originally titled "Let Your Fingers Do the Walking" and pays hommage to the Yellow Pages; I dedicate it to the late Fr. Bill O'Donnell, who was a fixture of many Bay Area protests (against war, for union rights, etc.) until his sudden death in December 2003. He called the judge who sentenced him to six months in federal prison (for protesting the infamous School of the Americas) "a pimp for the Pentagon." They don't make 'em like that anymore. "Divination" is what it is: a wish for an accurate sixth sense.

 

Matt Hart is the editor of Forklift, Ohio: A Journal of Poetry, Cooking, & Light Industrial Safety.  His first full length collection of poetry, Who’s Who Vivid, was recently published by Slope Editions.  Additionally, he is the author of two chapbooks, Revelated (Hollyridge Press, 2005) and Sonnet (forthcoming from H_NGM_N Books).  On the poems: "I Wished to Be a Lovely Thing" was written as both a response to, and a cut and paste re-versioning of, a poem called "I Wished for the Hurdy Gurdy to Be a Lovely Thing" by my friend Christian Schmit.  Like a lot of  things I’ve been doing lately, it wound up a sort of tweaked-out sonnet-in-circles.  In contrast, "Our Man in the Details" is not a sonnet of any stripe, however Sonic Youth is dutifully mentioned. (For a while a few months back everything I wrote had Sonic Youth in it.)  To me it feels like a broken biography poem, wherein I was ridiculously, distantly wondering about how lonely, powerless, and disappointed God (the Vast, What-Have-You) must feel in the face of us.

 

Kirsten Kaschock is the author of Unfathoms (Slope Editions).  She has an MFA in poetry from Syracuse University and an MFA in choreography from the University of Iowa.  She wrote a novel in Georgia, then moved to Philadelphia.  These poems are from The Dottery, a book-length series she is currently writing about pre-conceptions.  Other sections of The Dottery can be found at Denver Quarterly and Jubilat.

 

Jennifer Moxley lives and works in Maine. More info about her writing can be found at http://epc.buffalo.edu/authors/moxley/index.html. On the poems: I wrote this trio of poems in the spring of 2006. I purposely took on the subject of love (not, it should be noted, desire) as well as the device of an extended metaphor. Envious of what John Clare called Donne's "broken foot," I attempted to break my own ear's rhythms via constraint. Though I'm quite certain I failed, I enjoyed the exercise. The poems make up part of an on-going series. 

 

Sarah Mangold edits Bird Dog, a journal of innovative writing and art in Seattle. Books include Household Mechanics (New Issues, selected by C. D. Wright for the New Issues poetry prize), Picture of the Basket (Dusie e/chap), Boxer Rebellion (g o n g, chapbook), and Blood Substitutes (Potes & Poets Press, chapbook). Recent work appears/forthcoming in h_ngm_n, Denver Quarterly, Dusie, Shampoo, and La Petite Zine. "'Cupcake Royale' is a long poem which will hopefully one day be a chapbook.  I do most of my writing at a cupcake/coffee shop, hence all the cupcake references. And yes, I've lived in Kansas."

 

Carly Sachs teaches creative writing at George Washington University. Her first collection of poems, the steam sequence, won the 2006 Washington Writers' Publishing House Book Prize and will be published in August 2006. She is the founder and co-curator of the Burlesque Poetry Hour at Bar Rouge in Washington, D.C. She writes, "These poems come from a manuscript of poems about art or connected to art in some way. The first two are came from my friendship with artist and photographer Billy Danielson. We met in Youngstown on the last day of 2003. We both knew that there was some sort of significance in that, that there was something larger, looming above us. At the time, we called it The Possible Movement which is somewhat explained in that poem. Much later I wrote synaesthasia after going to the Hirshhorn Museum to see the exhibit Visual Music. At the time I remember my life was in transition and the different voices were written over different periods of time during those three months. It was only after the exhibit did I realize to fuse them together. The theory of synaesthasia is that sensory perception of one kind can induce sensory experience of another and these combined elicit a heightened state of consciousness. I wanted the poem to do that."

 

Joshua Edwards is from Galveston, Texas, and currently lives in Oaxaca, Mexico. He edits The Canary with Anthony Robinson and Nick Twemlow. Of these poems he writes: "For each segment, I alternated cutting from two texts. I wanted to backlight the texts together, coupled, and make portraits. Their silhouettes, quite often, turned out to be creepy, post-apocalyptic visions. Asi es la vida."  Other poems from the series appear in Colorado Review, Order & Decorum, LIT, and elsewhere.

 

Michael Rerick will soon begin PhD studies at the University of Cincinnati, where he hopes to start a cool reading series with Kristi Maxwell. He writes, "These sculpture poems are not inspired by real sculptures, and really aren’t supposed to have much physical form besides a semi-linguistic impression that might have some physicality." Other poems can be found or are forthcoming at Bathhouse, Caketrain, Cue, Diagram, Fence, Nidus, Order+Decorum, Shampoo, Tarpaulin Sky, Word For/Word and Words on Walls.

 

Jen Tynes lives in Providence, Rhode Island, and edits horse less press. Her poems have recently appeared in Kulture Vulture, CutBank, La Petite Zine, and No Tell Motel. Her first book of poetry, The End Of Rude Handles, is available from Red Morning Press.

 

Albert Flynn DeSilver is a poet, visual artist, and teacher. His new book Letters to Early Street is due out in 2007 from La Alameda/University of New Mexico Press. Recent poems have or are soon to appear in New American Writing, Hanging Loose, Van Gogh's Ear, ISM, Bombay Gin, 5 Fingers Review, and others. In 2009 a poem of his will appear in stone (or cement?) along the Sacramento River in California, as part of a public arts commission in collaboration with the visual artist Paul Kos. He lives in Woodacre, California where he runs The Owl Press, publishing innovative poetry and poetic collaboration. He writes, "These poems are from 'Working Title,' a series of prose poems, the titles of which were lifted from the US Department of Labor’s 'Dictionary of Occupational Titles, 2002.'"

 

Maureen Seaton's fifth poetry collection, Venus Examines Her Breast (Carnegie Mellon UP, 2004), won the Publishing Triangle's Audre Lorde Award. She has had poems in The New Republic, Atlantic Monthly, Paris Review, and elsewhere, including two Pushcart anthologies.

Neil de la Flor is a fellow of Breadloaf and the Vermont Studio Workshop. His solo work has appeared or is forthcoming in Hotel Amerika, Lodestar Quarterly, Barrow Street, Scene 360, Court Green, and elsewhere.

 

Hal Sirowitz is the former Poet Laureate of Queens, New York.  He'll be a featured reader at "Kids on the Marsh Literary Festival" in Reykjavik, Iceland.  He says, "Finger Held was written while visiting my in-laws in New Orleans. They took us on a tour of every broken levee. I kept thinking of Don McLean's American Pie, 'I took the Chevy to the levee.' But no
matter what car you took, you wouldn't hear singing. You'd only hear the sounds of workers cleaning up."

 

Robyn Art is the author of three chapbooks: Degrees of Being There (Boneworld Press, 2003), No Longer a Blonde (Boneworld Press, 2006) and Vestigial Portions of the Dead Sea Scrolls (Dancing Girl Press, June 2006.)  Her recent poems have appeared in Slope, The Hat, Conduit, Slipstream, Gulf Coast, The New Delta Review, Rhino, The Cream City Review, and canwehaveourballback.com. She’s the author of the poetry manuscript, The Stunt Double in Winter, which was selected as a Finalist for the 2004 Kore Press First Book Award and the 2005 Sawtooth Poetry Prize. She writes, "These poems are from a manuscript entitled Midnight in The Surgical Theater.  Recently, I’ve been writing a lot of poems in a sort of lyric, fragmented-list form;  I suspect that,  living as I do in New York City, the famously fever-pitched energy of the place has had somewhat of an ADD-effect on my emotional state; somehow, these fragmented and indirectly-related consciousness streams are what make the most sense to me these days.  Also, I commute to teach in Jersey five days a week and often jot things down on the subway/train/bus, so maybe writing in this stop-and-go way has had some kind of effect on my structural aesthetic.  In another vein, human biology, reproduction, and more recently, assisted reproductive technology, have always fascinated me;  that was the launching point for 'Lives of the Alpha Male.'"

 

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