My chapbook Noct: The Threshold of Madness from the larger body of poems, scrolls, planisphere and poem-objects, HOAX, has been selected as 2019 Chapbook winner alongside several other wonderful writers!
The Atlas Review will be publishing:
Ellena Savage’s Yellow City
Rae Gouirand’s The History of Art
Trevor Ketner’s White Combine: A Portrait of Robert Rauschenberg
Shannon Sankey’s We Ran Rapturous
Olatunde Osinaike’s Speech Therapy
Kina Viola’s Darkcutter
Noct: The Threshold of Madness is a poem of identity disrepair erased using anti-normative, anti-black images, language, and ideas from in popular how-to black magic book. I graphed over page of the book with sigils, circles, and other coded markings. I un/wrote between 2014 and 2015.
Noct has received a lot of support. Special thanks to Michael Morse, whom edited an excerpt in The Literary Review. Another excerpt was selected by Anomaly (fka Drunken Boat), nominated for and printed in Bettering American Poetry vol. II. I thank their editors and staff. The book of erasures was installed and performed in Artists Space‘s “Pride Goes Before a Fall / Beware of a Holy Whore / Mise en Abyme” (2016) with thanks to Harry Burke.
I’m very excited to return to this piece with a different knowledge painfully acquired. I hope to learn projection mapping software, to elevate the piece next level. Cause there’s gonna be a launch.
An areíto performed by B Taylor, Sammy Roth and yours truly at the Poetry Project’s HARPYLAND, 10/31/18
Music, readings, performance, prayer, peace. Hosted by Hudson-based artist Shanekia McIntosh. With performances by Martine Gutierrez, Zeelie Brown, Davon, Lady Moon, Joey De Jesus, Bibbe Hansen and B Taylor. For the second year in a row, Basilica Soundscape hosting TRIPTYCH, a day of collaborative performance art. TRIPTYCH triangulates at, or toward— The day of performances organizes around three nodes (shrine, movement, and plenum), each participant a star constellating sacred geometries. As a form, the triptych offers reliefs carved on three panels, three alternative imaginings. How might recuperating a livable planet demand a reimagining mysticism? TRIPTYCH moves beyond, approximating at a collective truth through collaborative performance. If the stage is a shrine is the universe, all above, turning into one—and all of space is full, then what are things and what is movement across space?
Several poems from my long series VANTABLACK appeared earlier this month in The Brooklyn Rail, which was a wonderful way to kick off the month~
Today (6/28) I’m participating in “Get Published: How to Create a Poetry Manuscript,” a panel in Astoria for programmed by Newtown Literary at the Broadway branch of the Queens Library at 40-20 Broadway (near the Steinway stop on the M/R train) with Omotara James and Carlos Hiraldo moderated by Sokunthary Svay. There’s much to say~
Then, tomorrow (6/29) at 7 at Books Are Magic, I’m performing new writing (i think) in Weirdd June: Murphy, Levitt, De Jesus and DeSilva-Johnson ~ <3 thanks to the Longofonos & WEIRDD w/ Jerome Ellison Murphy and Jen Levitt, and a lecture by Lynne DeSilva-Johnson
I’m rolling through to perform at the Studio Museum on Sunday as well~ https://www.studiomuseum.org/…/brown-paper-zine-…/1530374400
I wanted to take a moment to post these links to poems recently published online. Black Rabbit Review, is a local journal curated by
an irregular crew of regulars of Black Rabbit bar in Greenpoint, Brooklyn. I have to especially thank Jonathan Walsh for the labor-intensive re-creation of this poem, because I lost the editable copy when my computer was stolen back in 2012 and he redesigned it perfectly from scratch. Black Rabbit Review first printed “Celestogram of Jupiter” some time last year, though the date eludes me at the moment. Check out the poem and send them your writing!
“exorcism of the ritual gristle piece” is a newer poem, written last spring in a single sitting. I have been thinking about entanglements of numina, cathexis, blessing and cursing. Special thanks to the incomparable Kamden Hilliard for including this poem in Jellyfish Magazine 15.
2017 is past. I feel compelled to thank editors Sarah Clark and Erica Mena at Anomaly for having championed my work now for a number of years. A few months back, new Philly Poet Laureate, Raquel Salas Rivera, invited me to contribute to “Puerto Rico en mi Corazón” in effort to raise funds & community following Hurricane Maria. For it, Kenneth Cumba beautifully translated a poem “…because I do not seek inclusion,” first published in BOAAT and written for my immediate community, namely the papis of Papi Juice. Anomaly has published this body of work in their newest issue.
Anomaly also nominated my poem “Liberation” from my long erasure poem, “NOCT: the Threshold of Madness” for Bettering American Poetry 2017. Thank you to the editors for selecting this poem for print. I am humbled by the inclusive gesture and hold a lot of good will toward its editors, who time after time build and offer me space.
Poetry Project New Year
I had the pleasure of being invited to participate again in the 44th Poetry Project’s annual New Year’s Day Benefit Reading. I read
PROMESA, a sestina I erased out of H.R.4900 PROMESA and from my seared-leather celestograms. In 2017 I wrote an essay on the process of erasing the bill for credit across all my classes in the performance studies program at NYU. The reading was a wonderful experience and I’m just glad that I wasn’t as absolutely wrecked as last year and that the haters have learned to stay away. I’ve posted two short vids to my tumblr, here & here.
Lastly, I have an upcoming reading for the launch of Talk Magazine Issue 3 which includes poems from my materia series after artist and illustrator Yoshitaka Amano. In honoring the ekphrasis, exec. editor Harry Gassel solicited Alexis Beauclair for illustration into speculative landscape. The typeface is Gardena (unreleased) by Berton Hasebe. I can’t wait to hold, read, see, and smell it; the ink (and magazine in general) are of superb quality. I will be reading this Friday evening at Norwood Club. Hopefully, I’ll see you there!