“Jarring Bits,” a collaboration with artist Sheila Goloborotko, came to life thanks to Talon editors Kenna Galloway and Kat Roland. This meditation is a way of mourning the deaths of my dear friend Marthe Reed and my mother DeLoris Anderson Moseman. Here, I have given you Part II, Treasured Archive. ARK HIVE is the title of Marthe Reed’s poetry collection being published this month by The Operating System.Read More
Gathering video-footage for a one-woman show, I portaged a canoe in waterless places.
Here are some stills from rehearsal of my one-woman show, "How I Became Canoehead." As a cyborg who read poems in a video-filled blackbox theater at iEAR Studios, I earned an M.F.A in Integrated Electronic Arts in 2001.
I am honored to be included in Counter-Desecration: A Glossary for Writing Within The Anthropocene. The late Marthe Reed and Linda Russo collected 126 terms and definitions articulated by a diverse international group of poets. The anthology promises new vocabulary for “a world on the brink.”
My entry, “animacy,” is part of an ongoing conversation with Meredith Stricker, author of Our Animal. Our walks and talks inhabit California’s Central Coast — site of the 2016 Soberanes Fire and the 2017 bombogenesis pundits called Lucifer. Our shared reading practice seeks solace, kinship, alienation, abeyance, breath, space and light, so says Meredith in "Why Not The Forest.”
animacy: I hunt in Eduardo Kohn’s How Forests Think:An Anthropology Beyond the Human for the word “animacy” while two mutts sleep at my feet. They bark. We go outside. I see the morning glory has finally bloomed; a white butterfly I do not “identify” visits it too. “Situated, intimate engagement.” That’s how I sum up these pages from the chapter entitled “The Living Thought” which begins with barking dogs followed by a silence. In Quechua: hau’ hau’ hau’ then chun.The dogs are dead. Prey to a puma. Kohn unfolds a complex argument: “If thoughts exist beyond the human, then we humans are not the only selves in this world. We, in short, are not the only kinds of we. Animism, the attribution of enchantment to these other-than-human loci, is more than belief, an embodied practice, or a foil for our critiques of Western mechanistic representations of nature.” I read and take notes so as not to count days: Day 32 of the Soberanes Fire; 7 days, says the vet, until my oldest dog will die — food itself a toxin for her now. As an always already we, we remain a toxin for this planet? I read on, taking notes because Kohn’s animacy (or at least his articulation of it) offers possibility.
I am scrambling to rescue early digital work I made while earning an MFA in Electronic Arts at Rensselaer Polytechnic Institute. Most work is stored in formats that are now inaccessible (luckily so). But here are a few images from two works that juxtapose brain slices with rock climbers. You can watch a flash animation of brain slices and skirts (through the ages) here.
(ISSUE 33, SEPTEMBER 2013—WOMEN OF VISUAL POETRY ISSUE)
I was fortunate to have a poem, “Jet Black” in a special issue of The Volta: Evening Will Come.
Here are parts of editor Jessica Smith’s introduction:
“What is ‘visual poetry’? Just as the question of ‘what is poetry?’ may be answered differently by every reader and practitioner, so “visual poetry” is hard to define closely. The unifying elements of the visual poems presented here seem twofold: first, the following poets responded to the call for ‘visual poetry’ with the following works (a self-defined community); second, the poems privilege the visual or material over the verbal or sonic….
In 2008, Geof Huth edited a feature for Poetry titled “Visual Poetry Today” that included eleven men and only two women, K. S. Ernst and Sheila Murphy. Four years later, a new anthology, The Last Vispo Anthology: Visual Poetry 1998 – 2008 (ed. Nico Vassilakis and Crag Hill), includes many more female poets and a stunning variety of visual poetry from all over the world, but the ratio of male to female poets is still almost 4:1. Meanwhile, in 2008 I edited a feature on women in visual poetry for Phoebe magazine and edited, from 2006 – 2009, a monthly magazine called Foursquare that exclusively published visual poetry by women. For those seeking to define an historical territory for visual poetry, women seem to play an insignificant role in the genre. From my point of view, there are female visual poets everywhere….
The following selection started with a call to a hundred female visual poets and a very tight deadline. mIEKAL aND, Amanda Earl, Luc Fierens, Drew Kunz, rob mclennan and Sheila Murphy were instrumental in helping me gather names and email addresses in the “research” part of the process. I asked contributors to refer their friends, and they were generously forthcoming. Some of the women who responded overlap with the women in The Last Vispo Anthology, but most do not. This selection, like The Last Vispo’s, represents just a fraction of the amount of visual poetry being produced by women. It’s not the first such gathering. But let’s hope it’s not the last.”
Dusie.og, The Ecopoethos Issue edited by Marthe Reed
ANDERSON MOSEMAN BRYANT BURNS CARRIER CELLUCCI DUNGYDURAND GIEHL GOROBOROTKO GOUGH HAYES HOANG HOFER HUME IIJIMA KAMINSKI KAPIL LEE MENDELSOHN NISSIM SANTOS PEREZ NAKA PIERCE POE PLUEKER PREVO STRATCLIFFE REED SAKERSAKLIKAR SAND SCAPPETONNE RIED RIVERAGARZA RUBY SCHAPIRA SCHMID SIKELIANOS SIKKEMA SIMPSON TABIOS URIBE WALLSCHLAEGER WORKMAN ZOLF
“The generative impulse for this issue of Dusie was in part informed by Timothy Morton’s Ecology Without Nature, his challenge to the notion of ‘nature’ as it has historically been constituted, a notion fundamentally invested in isolating human from nature, nature from human. Constructed through the lenses of political/sociological/economic/environmental (and other) tensions, ‘nature,’ ‘place,’ and ‘environment’ are othered and objectified. At the interstices of ecological zones, species, cities, nations, bodies, those permeable borders separating ‘us’ from ‘them,’ human from other-than-human, insider from outsider, the vulnerable from the powerful, how might we reconfigure our understanding, encounter the unbounded condition having neither center nor margin?
I sought work from writers and artists that speaks into this eco-socio-political moment as an act of witness and of reach, especially works which, having adopting hybridity’s otherness, do not look back. I was amply rewarded. Lori Anderson Moseman writes in her essay-length engagement with grief and the print-works of Sheila Goloborotko, ‘There is nothing new in this save the ever-growing context of complexity’—’Art’s work is to ask for mercy.’ Complexity and mercy… .’ from Marthe Reed’s introduction.
Here’s what editors Nathaniel Brodie, Charles Goodrich and Fredrick J. Swanson have to say about their anthology Forest Under Story: Creative Inquiry in an Old Growth Forest:
“Two kinds of long-term research are taking place at the H. J. Andrews Experimental Forest, a renowned research facility in the Oregon Cascades. Here, scientists investigate the ecosystem’s trees, wildlife, water and nutrients with an eye toward understanding change over varying timescales up to two hundred years or more… . This anthology—which includes work by some of the nation’s most accomplished writers, including Sandra Alcosser, Alison Hawthorne Deming, Jane Hirshfield, Linda Hogan, Freeman House, Robin Wall Kimmerer, Kathleen Dean Moore, Robert Michael Pyle, Pattiann Rogers, and Scott Russell Sanders—grows out of the Long Term Ecological Reflections program and showcases insights of the program’s thoughtful encounters among writers, scientists and place.”
I am honored to have a poem included. “Hope Tour: Three Stops” takes readers to three sites in the forest on a tour with forest scientist Alan Tepley. The poem’s sections visit 1) an old clear-cut, 2) the Blue River Face Timber Sale Unit that was burned as part of the management strategy, and 3) an old growth reference plot that has been left “unmanaged.”
As a timber cruiser, I used to enter forests with an eye for the merchantable: along a compass line, I’d use a prism (tilted on a clinometer) to determine which trees to measure. Instruments dictated my vision. What if my goal is not to get an accurate estimate of timber yields but to see the forest through the tools of visionary poets?
In 2010, while on a writing residency at H.J. Andrews Experimental Forest, I took poems from these poets into long term ecological research plots: Taigu Ryōkan, Ema Saiko, A.R. Ammons, Goran Sonnevi, Arthur Sze, Maria Melendez, Brinda Iijima and Michele Glazer. Within the log decomposition site, the Lookout Creek gravel bar, and the Blue River Face timber sale, I found eight reflection spots and went to work inspired by the above poets.
My practice sequence for each plot: 1) meander, 2) photograph, 3) pause, 4) recite, 5) imitate, 6) resist, 7) record, 8) erase, 9) research. You can see the results of my play/inquiry online at http://www.trickhouse.org/vol11/experiment/loriandersonmoseman/indexa.htm.
Gauging Stations | Poetry Primer
Of all the cylinders I admire, / it is trees that turn my head / at every gauging station / (old friends, Ryōkan would say, / “like greeting old friends”). // The hydrologist admires the hook / gauge: a still well / until its tip breaks water’s surface…/ there … now read the Vernier scale—/ a measure to bring us to zero, // to calibrate all other instruments. / Saikō might prefer the paper scroll / rolled gingerly / into its watertight cylinder. Or, the act / of tearing it // from the seismograph. / The actual inking—the needle / in fluctuation—would captivate Sonnevi / only when discharge exceeds the margins, / starts recording an inverse. // As if extreme events were a turning / back upon oneself. / Ammons would want/ the record only if he couldn’t watch/ the debris torrent rip / down the watershed: logging’s slash / recruiting snapped snags / cavorting with popped culverts. / A road destined to become a gravel bar /dumped by the main channel at a bend, / Iijima likes the mixing of weekly/ samples—three in the same jug — / and savors the later data breakdown: / a transcript divorced / from the topographical, the topical, // the visceral scramble up the tributary. / Melendez plays / with the spare PVC tubing, / bangs it so motion makes a tuba of it. / All hollows know how to sound out / the poem they got in them. // Perhaps Sze would stand beside me, / admire the trapezoidal flume, the hand / going to the V-notch—its formal / beauty foreshadowing its precision. / (Not just any surface reflects.) // My friend Glazer is always at the edge / of the sediment basin. / She neither leaps into it nor over it. / Somehow, she gets under it. / surface with enough silt / to ground our grief.
In the wake of Federal Disaster #1649, a flood along the Upper Delaware River, I founded the press Stockport Flats. I hosted the High Watermark Salo[o]n to showcase writers and artists whose work buoyed others’ creativity. Checkout the High Watermark chapbooks at http://www.stockportflats.orgRead More
In addition to bringing The Little Magazineto the University at Albany in 1990, poet/professor/editor Judith Emlyn Johnson helped usher 13th Moon to SUNY Albany in 1991. Dean Francine Frank and Vice President for Research Jeanne Gullahorn helped the Women’s Studies and English department create a new home for the literary journal.
During my time at U at Albany, favorite issues were the ones devoted to Ethel Schwabacher (Volume IX, Numbers 1 & 2) and Avant-Garde Writing (Volume XIII, Numbers 1 & 2). Kudos to the managing editors of those issues: Wilma Kahn and Catherine Sustana.
I love thinking of Schwabaacher’s “Antigone” (1971) next to Carolee Schneemann “Fresh Blood: A Dream Morphology (1990). Their reinvention of women’s mythologies reverberated through contributors’ work.
I was lucky to have several poems from my collection Cultivating Excess in Volume IX and the piece “Reading Chora? (A Condensed Duet)” in Volume XIII. The duet was a textjam of Rachel Blau DuPlessis’ (via Kristeva) “Language Acquisition” and Jorie Graham’s “Self Portrait as Demeter & Persephone.”
Esperanza Malavé Cintrón, Cecilia Rodríguez Milanés and Druis Beaseley founded the Sisters of Color Writing Collective while working on graduate degrees at the University at Albany. The writing workshop blossomed into an activist group: as membership grew, the women gave readings, facilitated racism workshops, and taught poetry in correctional facilities. One of their outreach efforts was the literary magazine SEEDS.
Sisters of Color (SOC) welcomed women of all color. I, a Scandinavian-Slavic American, was invited to join the group after I had been in a study group with Esperanza Malavé Cintrón and Druis Beasley. I served as Poetry Editor of the first issue of SEEDS. Decades later when I founded the press Stockport Flats, I was able to publish Druis Beasley’s work in the High Watermark Salo[o]n Volume 1, Number 4 and the anthology Women Outside. Lillen Waller edited and contributed to the anthology American Ghost: Poets on Life After Industry for Stockport Flats. Esperanza Malavé Cintrón’s Visions of a Post-Apocalyptic Sunrise: Detroit Poems was part of Stockport Flats’ Confluence Series.
Here’s a list of contributors from SEEDS: The Biannual Literary Journal of the Sisters of Color, volumes 1, 2 and 3. The two issues featured work by members of SOC and writers in the community (Capital District of New York State). By the time the third issue was released, Editor Esperanza Malavé Cintrón had move back to your hometown of Detroit and founded a chapter of Sisters of Color Writing Collective there. So, Volume 3 is a wonderful conversation between creative women in Detroit and Albany.
1991. Managing Editor Esperanza Malavé Cintrón worked with Poetry Editor Lori Anderson [Moseman] and Editorial Assistants Curtis Bliss and Wilma Kahn to produce the premiere issue of SEEDS: The Biannual Literary Journal of the Sisters of Color. Contributors included, Druis Beasley, Linda Boulette, Tawana Brace-Knowles, Esperanza Malavé Cintrón, Mary A. Etienne, Laurie Filippi, Lois Jircitano, Wilma Kahn, Roz Lee, Shaarazetta Natelege, Lillien Waller, Rayfield Allen Waller, and Winifred Yu. Cover Art is by Joanne Beckman.
1992. Managing Editor Esperanza Malavé Cintrón worked with Poetry Editor Roz Lee and Editorial Assistants Stacey Dawes and Lillien Waller to produce Volume 2 of SEEDS: The Biannual Literary Journal of the Sisters of Color. Contributors included Druis Beasley, Linda Boulette, Esperanza Malavé Cintrón, Stacey Dawes, Linda Silance Dixon, Mary A. Etienne, Wilma Kahn, Roz Lee, Percival Miller, Lori Anderson [Moseman], Emily Novak, Cecilia Rodríguez Milanés, Mary Panza, Marilyn Omifunke Torres, Lillien Waller, Rayfield Allen Waller, Katie Yates and Winifred Yu. Cover Art is by Joanne Beckman.
1995. Managing Editor Esperanza Malavé Cintrón worked Editorial Assistants Wilma Kahn and Vievee Francis to produce Volume 3 of SEEDS: The Biannual Literary Journal of the Sisters of Color. This issue had poems from a performance the Sisters of Color Writing Collective produced. Writers/performers for Extensions: Women and Their Hair were Druis Beasley, Stacey Dawes, Nadia Lawson, Cherry B. McCutchen, Tanya Manning [Yarde] and Lori Anderson [Moseman]. Other contributors included Sarah Addae, Ventra Asana, Carmen Bugan, Mashana Burton, Esperanza Malavé Cintrón, Perri Giovannucci, jil hanifan, Aurora Harris, Kaleema Hasan, Lolita Hernandez, Wilma Kahn, Leslie Reese, Teresa Tan, and Rayfield Allen Waller.