TrenchArt: Box Set

Aesthetic Essays in Varied Form

Edited By Janice Lee, Teresa Carmody, Vanessa Place
Featuring Alex Forman, Alice Könitz, Allison Carter, Alta Ifland, Amina Cain, Axel Thormählen, Chris Tysh, Christine Wertheim, Danielle Adair, Divya Victor, Dodie Bellamy, Doug Nufer, Frances Richard, Harold Abramowitz, Jen Hofer, Jennifer Calkins, Julie Thi Underhill, Ken Ehrlich, Kim Rosenfield, Klaus Killisch, Lily Hoang, Lisa Darms, Mark Rutkoski, Mathew Timmons, Matias Viegener, Melissa Buzzeo, Michael du Plessis, Molly Corey, Myriam Moscona, Nuala Archer, Pam Ore, Paul Hoover, Redell Olsen, Renée Petropoulos, Sianne Ngai, Sissy Boyd, Sophie Robinson, Stan Apps, Stephanie Taylor, Susan Simpson, Teresa Carmody, Vanessa Place, VD Collective, Veronica Gonzalez, Vincent Dachy

About The Authors

Jen Hofer is a Los Angeles-based poet, translator, social justice interpreter, teacher, knitter, book-maker, public letter-writer, urban cyclist, and co-founder of the language justice and literary activism collaborative Antena. Her translation of Negro marfil by Mexican poet Myriam Moscona, published as Ivory Black by Les Figues Press in 2011, won the 2012 Harold Morton Landon Translation Award from the Academy of American Poets and the 2012 PEN Award for Poetry in Translation.

Her other translations include the homemade chapbook En las maravillas/In Wonder (Libros Antena/Antena Books, 2012); sexoPUROsexoVELOZ and Septiembre, a translation from Dolores Dorantes by Dolores Dorantes (Counterpath Press and Kenning Editions, 2008); lip wolf, a translation of lobo de labioby Laura Solórzano (Action Books, 2007); and Sin puertas visibles: An Anthology of Contemporary Poetry by Mexican Women (Ediciones Sin Nombre and University of Pittsburgh Press, 2003).

Her most recent books are the handmade chapbook Lead & Tether (Dusie Kollektiv, 2011); a series of anti-war-manifesto poems titled one (Palm Press, 2009); and The Route, a collaboration with Patrick Durgin (Atelos, 2008). She has poems, essays and translations forthcoming from Dusie Books, Insert Press, Kenning Editions, and Litmus Press. She teaches in the MFA Writing Program at CalArts and the Graduate Writing Program at Otis College of Art & Design, and works nationally and locally as a social justice interpreter through Antena. Most recently she has been hand-sewing quilted poems; her installation “Uncovering: A Quilted Poem Made from Donated and Foraged Materials from Wendover, Utah” is currently on view at the CLUI.

Myriam Moscona is from Mexico, of Bulgarian Sephardic descent. She is the author of nine books, from Ultimo jardín (1983) to De par en par (2009). Two of her published books are outside the realm of poetry, yet remain connected to poetry: De frente y de perfil (literary portraits of 75 Mexican poets) and De par en par, which explores the phenomenon of poetry beyond its traditional construction. When Negro marfil was conceived, Moscona focused on the use of visual materials (inks, pastels, graphite and acrylics), which led her to explore alternate means of expression. In this way she came to visual poetry: drawn in through the side doors of writing. Moscona has received numerous awards, including the Premio de Poesía Aguascalientes and the Premio Nacional de Traducción; she is a grantee of the Sistema Nacional de Creadores de Arte, and she was awarded a grant from the Guggenheim Foundation.

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