baseball, poetry, and kim chi

Wednesday, November 02, 2005

Typo Burning Action

Come on, feel the noise!

Sit in The Burning Chair as we witness once and for all

ActionBooks Night
featuring
Lara Glenum
Arielle Greenberg
&
Johannes Göransson
8 p.m., Sunday, November 6
the Cloister Café, 238 E. 9th Street

FREE


ABOUT THE READERS

LARA GLENUM was raised in the gothic South. She studied for her M.A. in
English at the University of Chicago and received her M.F.A. in Creative
Writing from The University of Virginia, where she was a Hoyns Teaching Fellow. In
2000, she received a Fulbright to Prague to translate 20th C. Czech poetry. She
continues to collaborate on translations of Czech avant-garde poets with her
husband, Josef Horá?ek. At present, she teaches among the kudzu vines at The
University of Georgia, where she is a Ph.D. candidate specializing in
Modernism and the Historical Avant-Garde, post-modern aesthetics, and theories of
the sublime and the grotesque. She has recently served as an associate
editor of Verse magazine. Her poetry has been nominated for a Pushcart Prize and
has appeared in Conjunctions, New American Writing, Denver Quarterly,
Fence,American Letters & Commentary, and elsewhere.

ARIELLE GREENBERG is the author of Given (Verse, 2002), and the
chapbook Fa(r)ther Down: Songs from the Allergy Trials (New Michigan, 2003).
Current projects include co-editing, with Rachel Zucker, an anthology of essays
on women poets and mentorship. Her poems have appeared or are forthcoming
in the anthologies Best American Poetry 2004 and 2005, Legitimate Danger:
American Poets of the New Century, and Isn't It Romantic: 100 Love Poems by
Younger American Poets and in journals including Conjunctions, the Denver
Quarterly, and the American Poetry Review. She teaches in the graduate and
graduate poetry programs at Columbia College Chicago, where she is a co-editor of the poetry journal Court Green. She lives in Evanston, IL with her family.

JOHANNES GÖRANSSON'S translations of various Swedish poets have
appeared or are forthcoming in special issues of Bitter Oleander, Fourteen Hills and
Typo. His poems have appeared in journals like jubilat, Salt Hill and Octopus. He
is a PhD candidate at the University of Georgia and teaches at the University of
Alabama.

ABOUT ACTIONBOOKS

Rather than setting forth a program for a certain aesthetic, this press
is interested in encouraging poets to follow their obsessions, dare to
enlarge our notions of what poetry and language can do and be. We are much more
interested in poetry that fails interestingly than succeeds by skillfully
replicating models. Among other things, we are interested in poets that work with the book as the unit of composition (rather than the individual poem), poets who
experiment with the visual presentation and logic of the text, and poets whose
manuscript reveals its own process, rather than merely finalized products.

As part of this goal to enlarge the notion of poetry, we plan to publish
contemporary writers in translation. We want to challenge the artificial
boundaries of national and aesthetic schools.
We want poetry that goes too far.

ABOUT THE BURNING CHAIR & TYPO

The Burning Chair Reading Series is the result of the editors of Typo
and their supporters using their online network to
bring poets from the United States and abroad to New York City and match them
with local poets creating poems worthy of international attention. Our
readers are generally younger, have two or fewer books, and work outside the
mainstream. These are not typically experimental or avant-garde poets,
however. They are studied, traditionally astute, and have reputations among those looking for the next generation of poets who are willing to make it new, rather than
folow the crowd.

We hold our readings at the Cloister Café, which offers indoor,
semi-enclosed, and outdoor areas, all highly decorative (a fountain, stained glass, a suit of armor, all theyre missing is the monkey).

The intention of the Burning Chair Reading Series is to introduce a new
collection of poets through a venue removed from the literary scenes.
We wantto promote a warm rather than austere or clubby mentality for an
audience consisting of poets, fans, and people new to poetry.

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