23 Juin 2023 Ivy Lecture avec Frédéric Forte Zoë Skoulding Kiran Bath et Constance Chlore

Summer Sendoff : Lecture bilingue avec IVY Writers Paris. Nous vous invitons à une soirée
de lectures en français et anglais
le 23 juin 2026 à 19h30
avec les auteurs de 4 pays:

You are invited to an evening of English and French poetry with authors from 4 countries:

Frédéric Forte (France)
Zoë Skoulding (Wales)
Kiran Bath (australie) et
Constance Chlore (Bélgique)

 

 

23 juin 2026 à 19h30

à :   Delaville Café, au 1^er étage, 34 boulevard Bonne Nouvelle,

75010 Paris M° Bonne nouvelle (ligne 8 or 9)

RDv au bar avant de monter au 1er! Meet at bar for drinks! SALLE MARGUERY

 

BIOS:

Kiran Bath was born and raised in Sydney, Australia, and has spent the past 10 years as a New York–based poet and prose writer. Her work engages with lyrical, feminist, and avant-garde poetry, as well as related art movements. Her debut collection, Instructions for Banno, was published by Kelsey Street Press in 2024, won the Silver Nautilus Prize for poetry, and is now in its third print run. Kiran has received fellowships from Kundiman and The Poets House, along with residencies and ongoing support from Tin House, the Vermont Studio Center, and the Asian American Writers’ Workshop. Kiran is currently at work on a second poetry collection as well as a debut novel. In addition to her writing, Kiran teaches workshops on poetic form and the avant-garde movement and serves as a mentor to emerging writers in the US, UK and Australia. Kiran is  interested in building literary community in Europe and fostering exchange with the New York–based literary communities. Kiran is currently based between Switzerland and Sydney and spends her time obsessing over  the perfect coffee, ideal swimming conditions and re-reading classic feminist literature. https://www.kiranbath.com/ 

Constance Chlore, née à Bruxelles vit actuellement à Paris. Romancière et poète, elle a reçu les prix international du livre d’artiste Saint-Denys-Garneau, 2025 ; Ose ta question au sphinx qui s’ignore, Signum Gravures de Véronique de Guitarre ; Suite poétique de Constance Chlore Prix international de poésie francophone Yvan Goll, 2014 pour son livre Atomium, Atelier de l’agneau Ses publications incluent des romans : Le Fils de l’os, Maelström, (à paraître septembre) 2026 ; Alpha Bêta Sarah, Le Nouvel Attila, 2020 (traduction en roumain par Florica Courriol, Scoala Ardeleana, 2022) À Tâtons sans bâton, Punctum, 2008 ; Nicolas jambes tordues, La Fosse aux ours, 1999  Poésie : Orphée//Le monde vibrera comme une immense lyre//Eurydice, L’herbe qui tremble, 2026 ; Il faut penser à travers tout (A petits pas autour de Paul Nougé et par fragments), Maelström, bookleg 176, 2022 ; Le mot Orage, L’herbe qui tremble, 2022 ; L’air respirait comme un animal, Unicité, 2021 ; L’Alphabet plutôt que rien, Eoliennes, 2017 ; Atomium, Atelier de l’agneau, 2014 (prix de poésie francophone Yvan Goll, 2014) ainsi que 5 livres d’artiste et 4 livres de photos. Pour plus, consulter son site : https://constancechlore.com/  
       Ce soir, pour Ivy, elle lira des extraits de son nouveau livre, Orphée // Le monde vibrera comme une immense lyre // Eurydice dans lequel Constance Chlore mêle sources, traces et imaginaire, à sa propre interprétation du mythe. Elle redonne un destin à Eurydice. Orphée la croit morte. Elle est vivante. Remontée des Enfers à son insu, elle a rejoint les Ménades. Contre la doctrine d’Orphée, et son monde d’illusions, Eurydice choisit le réel et la terre. Près de lui, sous le même nom, elle exerce avec ses sœurs une connaissance. La plus secrète abondance. Elle, qui a su échapper à la mort, se tient avec ses compagnes au plus près de la vie. Qui ne cherche pas la vie ? Ce poème-épopée bondit d’un épisode à l’autre : l’instruction d’Orphée par les Muses, la mort d’Eurydice le jour même de ses noces, la descente aux enfers, la fondation de l’orphisme, etc. Rebondit d’une interprétation d’artiste à une autre : Cocteau, William Carlos Williams, Nerval, Rilke, Katleen Raine, etc. Des citations, des incises historico-mythiques mettent en scène l’exploration de l’autrice autour d’un mythe matrice questionnant l’amour, la perte, le deuil, le chaos, la beauté, la puissance de la parole, les forces de destruction.  Que peut la poésie face au surgissement de la violence ?

Frédéric Forte, né en 1973 à Toulouse, vit aujourd’hui à Paris. Il est poète, traducteur et enseignant qui a publié ses premiers livres de poésie en 2002 et est membre de l’Oulipo (l’Ouvroir de Littérature Potentielle, fondé par Raymond Queneau et François Le Lionnais) depuis 2005. Ses initiales sont celles de « formes fixes » dont il aime explorer les potentialités. Depuis 2020, il co-dirige le Master de Création littéraire du Havre. Son quinzième livre de poésie, Le sentiment général, vient de paraître chez P.O.L. Il a notamment publié au éditions de l’Attente (Discographie, Banzuke, N/S (avec Ian Monk), 33 sonnets plats et De la pratique), au Théâtre Typographique (Opéras-minute (traduit en anglais chez Burning Deck) et Une collecte), aux éditions NOUS (Re-), à L’Usage (Été 18) et également chez P.O.L (Dire ouf, Nous allons perdre deux minutes de lumière, Transformation de la condition humaine dans toutes les branches de l’activité. Pour visualiser quelques lectures-vidéos : https://www.pol-editeur.com/index.php?spec=auteur&numauteur=6183 Il a également traduit Guy Bennett, Michelle Noteboom, Oskar Pastior et Gilbert Sorrentino..

Zoë Skoulding is a poet and literary critic interested in translation, sound and ecology and the author of seven poetry collections, most recently Do I Look Like an Atmosphere? just out from Carcanet Press (2026), following A Marginal Sea in 2022, which was shortlisted for Wales Book of the Year. Her previous collections (published by Seren Books) include The Mirror Trade (2004); Remains of a Future City (2008), shortlisted for Wales Book of the Year; The Museum of Disappearing Sounds (2013), shortlisted for Ted Hughes Award for New Work in Poetry; and Footnotes to Water (2019), which was a Poetry Book Society Recommendation and won the Wales Book of the Year Poetry Award 2020. In 2020 she also published The Celestial Set-Up (Oystercatcher) and A Revolutionary Calendar (Shearsman). She received the Cholmondeley Award from the Society of Authors in 2018 for her body of work in poetry. Her critical work includes two monographs, Contemporary Women’s Poetry and Urban Space: Experimental Cities (2013), and Poetry & Listening: The Noise of Lyric (2020). She has recently directed Transatlantic Translation: Poetry in Circulation and Practice Across Languages (funded by the Arts and Humanities Research Council, 2020-22), following the network Poetry in Expanded Translation 2017-2018. She lives in north Wales and is Professor of Poetry and Creative Writing at Bangor University. For more, see: https://www.zoeskoulding.co.uk

Myung Mi Kim lira pour Ivy Writers Paris le 18 novembre 2015 - Des traductions faites par Abigail Lang seront lues par Virgine Poitrasson

Ivy Writers Paris vous invite à une soirée exceptionnelle
mercredi 18 novembre à 19h30 avec le poète Coréenne-Américaine 

MYUNG MI KIM

Sa lecture en anglais sera accompagnée par une lecture des premières traductions de ses textes faites en français
Traductions par Abigail Lang, MDC Paris 7, lues et présentées par Virginie Poitrasson

ENGLISH: Korean-American Author Myung Mi Kim will read for Ivy Writers Paris on 18 November at 19h30 (WEDS NIGHT!). She will read in English and new translations (first translations!) of her work by Abigail Lang (MdC Paris VIII) will be presented in French, read by Virginie Poitrasson.

MYUNG MI KIM
LE 18 NOV à 19H30
AU DELAVILLE CAFE
34 BVD BONNE NOUVELLE
75010 PARIS
M° Bonne Nouvelle (ligne 8 ou 9)

BIOS / AUTHOR STATEMENT OF HISTORY

Myung Mi Kim est l'auteur de 5 livres et 2 plaquettes de poésie. Elle est traduite en espagnol, en coréen et maintenant en français par Abigail Lang. Ses poèmes ont paru dans des anthologies et des revues littéraires anglophones. Depuis 2002, Kim enseigne dans le faculté de "Poetics" à Buffalo à NY où elle a pris la direction du département depuis plusieurs années. Entre 1991-2001 elle enseigné dans le programme de Creative Writing à San Francisco State University en californie. Une série de textes critiques dédiées au travail de Myung Mi Kim ont été publié dans un numéro spécial de la revue Jacket 2: Jacket Feature on MMKim Egalement dédié au travail de Myung Mi Kim: "Building is a Process / Light is an element" des essais et des "excursions" faites pour Myung Mi Kim, disponible sur EPC: http://epc.buffalo.edu/authors/kim/building/

MYUNG MI KIM: b. 1957. Author of 7 books of poetry, and professor at Univ of Buffalo, NY, Myung Mi Kim is known for her strong explorations of history, personal and political narratives in fragmented space which open the page and the English language to the othernesses in all of us. As CJ Martin states, she "explores the problem of legibility: legibility of the book, of the subject, of the work of art. Kim’s work seeks “a relationship with readers that owns to and remains critical of the political and systematic nature of that encounter,” from books that construct their own grammar to lyric speech that explores the problem of silence to work that foregrounds practice as performance." (Jacket 2 sidebar intro) A large feature on her work, including criticism and a series of interviews, appeared on Jacket 2: here is a link to one of those works: http://jacket2.org/feature/myung-mi-kim Myung Mi Kim is the subject of the book The Subject of Building Is a Process / Light Is an Element: essays and excursions for Myung Mi Kim (2008) http://epc.buffalo.edu/authors/kim/building/. She has taught at San Francisco State University and in the Poetics Program at SUNY Buffalo.   Myung Mi Kim was born in Seoul, Korea. She immigrated with her family to the United States at the age of nine and was raised in the Midwest. She earned a BA from Oberlin College, an MA from The Johns Hopkins University, and an MFA from the University of Iowa. Her collection of poems Under Flag (1991) won the Multicultural Publishers Exchange Award of Merit; subsequent collections include The Bounty (1996), DURA (1999), Commons (2002), River Antes (2006), and Penury (2009).   Read below a full detailed bio/author statement on her history followed by a detailed publication bibliography:

MYUNG MI KIM:
An in depth biographical and publication history reflection:

  I am asked often whether my shift from one language to another (Korean to English) “made me into a poet.”  Over time I have realized that I invariably answer, “yes,” to this question. My body of work attempts to understand this “yes,” the heterogeneous meaning of this “yes.”
     I was nine years old when I immigrated to the U.S.  I did not know any English. There was a window of three months where I first began to understand English but could not speak it.  This ability to comprehend a language but not utter it, informs much of what comes into play in my thinking about language and poetry. In a sense, language “cracked open.”  Frightening, perhaps—but more, this fissure or rift has meant an enduring reflexive relationship to language for which I am grateful.
     A book of my poems, Under Flag, was awarded the Multicultural Publisher’s Exchange Award  of Merit in l992.  I held a residency at the Djerassi Resident Artists Program (1993) and received Awards from the Fund for Poetry (1994, 1995,1997) as well as three Gertrude Stein Awards for  Innovative North American Poetry (l994, 1995, 1996).  During 2006-07, I worked on a translation project with a grant from the Daesan Foundation.  I received but unfortunately had to decline a residency from the Djerassi Alumni Resident Artists Program (2008).  In 2009, I was the recipient of the State University of New York Chancellor’s Award for Excellence  in Creative Activities.

     I have held faculty residencies across institutional lines, for example: Poet in Residence, Oberlin College (1995), Edelstein-Keller Writer in Residence, University of Minnesota, Minneapolis, MN (1996), Tucson Poetry Festival (2001), Distinguished Poet in Residence, St. Mary’s College, Moraga, CA, (2001), Woodland Pattern Book Center, Milwaukee, WI (2002), Kootenay School of Writing, Vancouver, Canada (2002), George Mason University (2006), Naropa Summer Writing Program (2007), Kundiman Asian-American Poetry Retreat (2009), Seoul National University, Seoul, Korea (2009), Ewha University, Seoul, Korea (2010), Poet in Residence, University of Utah (2011), Writer in Residence, Lower Manhattan Culture Council, New York, NY (2011-15).
     Broadly speaking, my work as a poet investigates otherness in gendered and raced power relations, and in the contact zones between nations, cultures, and languages. My most recent book of poems, Penury, appeared from Omnidawn Publishing (2009).  Penury explores the interarticulation of transnational capital, forced displacement of populations around the globe, and ecological devastation.  For analysis on Penury: Hume, Angela.  “An Ecopoetics of the Limit: Myung Mi Kim’s ‘fell’” OmniVerse 38. http://omniverse.us/angela-hume-an-ecopoetics-of-the-limit/  (January 2014).
     Commons, my fourth book of poems, published by University of California Press in 2002, negotiates multidimensional time and disjunctive simultaneity to open up the textual space not simply to the social, historical, and political, but also to the unutterable, the silenced, and the erased.  For an in-depth study of Commons:  Keller, Lynn.  “Myung Mi Kim’s Visual Poetics of the Aggregate.”  Thinking Poetry:  Readings in Contemporary Women’s Exploratory Poetics. University of Iowa Press, 2010.
     My third book, DURA, was published in 1998.  A second printing appeared from Nightboat Books (2008) with an introduction by Juliana Spahr and an afterword by Stephen Hong Sohn.  Sohn provides a useful gloss of the critical work that has emerged in relation to DURA.
I offer up a handful of illuminating, but nevertheless divergent critical approaches to DURA.  First, Josephine Park’s “’Composed of Many Lengths of Bone’: Myung Mi Kim’s Reimagination of Image and Epic,” argues that Kim’s poetic influences draw from Ezra Pound, Walt Whitman, and Theresa Hak Kyung Cha.  Park’s contention suffices to expand the boundaries of what ShirleyGeok-lin Lim has called ethnopoetics by reminding critics of the complex webs that help structure the aesthetic projects of so called “minority” writers.  Zhou Xiaojing’s “’What Story What Story What Sound:  The Nomadic Poetics of Myung Mi Kim’s DURA,” investigates the lyrical geometry of Kim’s collection through theoretical interventions offered by Gilles Deleuze and Felix Guattari.  Zhou is especially interested in the ways in which the collection inhabits numerous geographical landscapes and temporalities. Other analytical approaches have included Joseph Jeon’s study of DURA’s sound qualities, specifically the interlingual valences where Korean phonetics clash against English.  Brian Reed has categorized Kim’s lyrics as espousing “postlinear poetics,” arguing that DURA contains “word squares” where the physical shape of specific poetic sections must be analyzed.

     Chax Press published my second book, The Bounty, in 1996 and ran a second printing in 2000.   The Bounty interrogates the agency of utterance undergirding the historical process of transcultural encounters, with a focus on questions of translation (translatability, transliteration, transcription).  Work from The Bounty was anthologized in Moving Borders: Three Decades of Innovative Writing by Women. Talisman House (l998), Primary Trouble: An Anthology of Contemporary American Poetry. Talisman House (1996), Premonitions: The KAYA Anthology  of New Asian North American Poetry. Kaya Productions (1995).
     Under Flag, my first book of poems, (Kelsey St. Press, 1991, l998, 2008, 2011) inaugurated a foundational consideration in my poetry; namely, how might the stress marks of history, the fragility of lives in upheaval, the trace of the conversation between the dead and the living be inflected in our conception and practice of language? In the past decade or so, my poetry has found a growing readership here and abroad.

Translations of my work have appeared in Spanish, French, and Korean. Critical response to my writing has been robust.  Along with the critical work mentioned above, I would also highlight:  Dowling, Sarah. “Interpolation, Coherence, History: The Works of Myung Mi Kim.”  Nests and Strangers: On Asian-American Women Poets.  Kelsey St.  Press, 2015.  jacket 2 feature on Myung Mi Kim: http://jacket2.org/feature/myung-mi-kim,  2013.  Jeon, Joseph Jonghyun. Forms:  Objecthood in Avant-garde Asian American Poetry.  University of Iowa Press, 2012.  Ziarek, Krzysztof. “Noting Silence.” Critical Horizons, 11.3, 2010.  Liu, Warren. "Making Common the Commons:  Myung Mi Kim's Ideal Subject."  American Poets in the 21st Century: The New Poetics. Wesleyan University Press, 2007.
     The composer, John Zorn, commissioned me to write a bilingual Korean/English text for his “New Traditions in East Asian Bar Bands.”  I have given poetry readings in a wide range of venues, such as:  Poets House (New York), Rice University, Wesleyan University, Brown University, University of Maine at Bangor, Segue Reading Series (New York), University  of California at San Diego, Duke University, University of Utah at Salt Lake City, Page Turner: The Asian-American Literary Festival, Asian American Writers Workshop, Lunch Poems Series, University of California at Berkeley, Mt. Holyoke College, University of Wisconsin at Madison, Kelly Writer’s House, University of Pennsylvania, Poets Out Loud at Lincoln Center, Fordham University, University of Virginia, St. Mark's Poetry Project, University of Colorado at Boulder, Cambridge Conference on Contemporary Poetry, Trinity College, Cambridge University, Cambridge, England, Folger Library, Washington, D.C., University of California at Santa Cruz, Columbia University, and the Academy of American Poets.
     My writing and teaching are deeply reciprocal.  From 1991-2002, I served as Professor of Creative Writing at San Francisco State University.  In 2002, I joined the faculty at the State University of New York at Buffalo as Professor of English and as a core faculty member of the Poetics Program.  Since my arrival at the University at Buffalo, I was appointed as Director of the Poetics Program (2008-2011), Acting Director  (Fall 2014), and am currently resuming my role as Director of Poetics for the next three years.

MYUNG MI KIM: LIST OF WORK
Books of Poetry

• Penury. Oakland: Omnidawn Publishing, 2009.
• Commons.  Berkeley, Los Angeles, London: University of California Press, 2002.
• DURA.  Los Angeles: Sun & Moon Press, 1998.
• New York: Nightboat Books, 2008.
• The Bounty.  Minneapolis: Chax Press, 1996, 2000.
• Under Flag.  Berkeley: Kelsey Street Press, 1991, l998, 2008, 2011.

Books in Translation

• DURA.  Spanish edition. Guadalajara: Mantis Editores, forthcoming.

Chapbooks

• River Antes.  Buffalo:  Atticus Finch, 2006.
• Fell.  New York:  Belladonna Books, 2006.
• Spelt.  San Francisco:  a+ bend press, 1999.

In Anthologies

• “Under Flag,” A Sulfur Anthology.  Wesleyan University Press, forthcoming.
• From Commons, A TransPacific Poetics. Litmus Press, 2016.
• From Commons, Out of Everywhere 2:  Linguistically Innovative Poetry by North American and U.K. Women.  Reality Street  (Hastings, England), 2015.
• “Moving Across Languages, Borders, Cultures,” Cross Worlds, Transcultural Poetics.  Coffee House Press, 2014.
• From Penury and “Into Such Assembly,” Postmodern American Poetry:  A Norton Anthology. W.W. Norton and Company, 2013.
• From Penury and Commons, American Hybrid:  A Norton Anthology of New Poetry.  W.W. Norton and Company, 2009.
• From Commons, American Poets in the 21st century:  The New American Poetics. Wesleyan University Press, 2007.
• “Into Such Assembly," Asian-American Literature: An Anthology. NTC Publishing Group, 2000.
• From The Bounty, Moving Borders: Three Decades of Innovative Writing by Women. Talisman House Press, l998.
• From DURA, Making More Waves.  Beacon Press, 1997.
• "Into Such Assembly," "Rose of Sharon," Literary Mosaic: Asian-American Literature, HarperCollins, 1996.
• From The Bounty, The Gertrude Stein Awards in Innovative North American Poetry. Sun & Moon Press, 1996.
• From The Bounty, Primary Trouble: An Anthology of Contemporary American Poetry. Talisman House, 1996.
• "Anna O Addendum," Premonitions: The KAYA Anthology of New Asian North American Poetry.  Kaya Productions, 1995.
• "Primer," The Gertrude Stein Awards In Innovative North American Poetry. Sun & Moon Press, 1995.
• From DURA. writing away here: a Korean/American Anthology, October 1994.
• "Into Such Assembly," "Rose of Sharon," The Forbidden Stitch: An Asian-American Women's Anthology.  Calyx Books, 1989.

In Journals (selected)

• From Civil Bound, Aufgabe, forthcoming.
• From Civil Bound, Hambone, No.19 (Fall 2009): 143-151.
• From Civil Bound, Interval(le)s, CIPA (Centre Interdisciplinaire de Poétique Appliquée), http://www.cipa.ulg.ac.be/intervalles4/contentsinter4.php (February 2009)
• From Penury, big bridge # 12, www.bigbridge.org (Fall 2006). 
• From Penury, boundary 2, (Summer 2006):  37-40.
• Translations from Lee Seong Bok's Ah, Those Without, Mouths, Words Without Borders, www.wordswithoutborders.org (Fall 2005).
• From Penury, xcp:  Cross-Cultural Poetics, (2003):  21-26.
• From Penury, Conjunctions, (Fall 2001):  433-437.
• “Anacrusis," text of a talk given at “Page Mothers Conference," University of California at
• San Diego, how 2, http://www.departments.bucknell.edu/stadler_ center/how2
• From Spelt, Chain 6, (Summer l999):  88-96.
• From Commons, Five Fingers Review l8, (l999):  91-92.
• From Commons, Conjunctions, (Spring l999):  299-306. 
• From Commons, Proliferation 5, (l999):  unpaginated.
• From Commons, Chain 5, (Summer l998):  l09-ll0.
• "Exordium," Positions: East Asia Cultures Critique, (Winter l996): 417- 419.
• From DURA, Sulfur 36, (Spring 1995): 72-80.
• From DURA, Conjunctions 24, (1995): 153-58.
• From DURA, Exact Change Yearbook 1995 (September 1995): 389-91.
• From DURA, Positions: East Asia Cultures Critique, (Winter 1994): 538-41.
• From DURA, Avec 7 (January 1994): 89-93.
• From The Bounty, Hambone 11, (Spring 1994): 64-68.
• "Primer," Conjunctions, (Fall 1993): 52-60.
• From "Anna O Addendum," Writing from the New Coast: Presentation, o-blek Editions (Fall 1993): 154-156.   
• "Field of Inquiry," Writing from the New Coast: Technique, o-blek Editions (Fall l993): 175-77. From The Bounty, Avec 6,(Spring 1993): 133-35.   
• From The Bounty, Notus (Fall 1992): 90-93.
• From The Bounty, Black Bread, (Spring 1992): 44-47.
• From The Bounty, lyric &, (Spring 1992):  unpaginated.
• "The Site of the Capital," International Examiner, (March 1992): 17.
• "Food, Shelter, Clothing," Zyzzyva (Fall 1991): 111-15.
• "Under Flag", "Demarcation," Sulfur (Fall 1991): 132-37.
• "From A Far: Reading Theresa Hak Kyung Cha's DICTEE," How(ever) vol. 4, no. 4, (l99l).
• "From the Sea on to the Land," How(ever) vol. 3, no. 2 (1990).
• "Body As One As History," f.(lip),Vancouver, Canada (Fall 1989).
• "And Sing We," "These Fishing Two," Ironwood 30, (Fall 1987): 178-80.
• "Father Hat," Ironwood 29 (Spring 1987): 145.

Eléna Rivera et Stéphane Bouquet lecture bilingue le 7 avril 2014 à 19h00 au Delaville Café

Le 7 avril 2014 à 19h00 IVY Writers Paris vous invite à une soirée de lectures bilingues dans l’ambiance somptueuse de cette ancienne « maison de tolérance » avec

Eléna Rivera et  

Stéphane Bouquet 

 Ivy Writers Paris is thrilled to invite you to this bilingual reading in the lovely ambiance of the Delaville Café where we will hear from Elena Rivera and Stéphane Bouquet! NYC author Elena Rivera and French poet, translator and cinéaste Stéphane Bouquet. Rivera is the translator for Bernard Noël, and Bouquet translates into French from both Italian and English, thus it will be a real treat to speak with these authors about their writing and translation work in a QandA session following the reading of their own poetry.

A 19h00

DELAVILLE CAFÉ

(A l’étage dans le salon merguery)

34 Boulevard Bonne Nouvelle

75010 Paris, M° Bonne Nouvelle

entrée libre

retrouvez-nous sur Facebook : https://www.facebook.com/groups/101898279922603/?ref=br_tf

BIOS :

Stéphane Bouquet est poète, critique, traducteur et cinéaste qui vit à Paris. Il a publié six livres de poésie chez Champ Vallon (Dans l’année de cet

âge, 2001 ; Un monde existe, 2002 ; Le Mot frère, 2005 ; Un peuple, 2007 ; Nos amériques, 2010 ; Les Amours suivants, 2013). Il a également traduit des poètes américains tels que Robert Creeley (Le Sortilège, éd. Nous) ; Paul Blackburn (Villes, éd. José Corti) et Peter Gizzi (L’Externationale, éd. José Corti). Pensionnaire à la Villa Médicis en 2002/2003. Il y termine Le Mot Frère dans lequel il livre quelques clefs de lecture pour ses autres livres. Il a publié des études sur Gus Van Sant (éd. Cahiers du cinéma, 2009, coécrit avec Jean-Marc Lalanne) sur Eisenstein (éd. Cahiers du cinéma, 2008) et sur L'Evangile selon Saint Matthieu de Pasolini (éd. Cahiers du cinéma, 2003).Il est par ailleurs co-scénariste après avoir été longtemps critique aux Cahiers du cinéma. Il a écrit les textes de (et joué dans) La Traversée, long-métrage autobiographique, ainsi que les scénarios de divers films de Sébastien Lifshitz (Les Corps ouverts, Presque rien, Wild Side, Les Terres froides), de Valérie Mréjen (La Défaite du rouge-gorge), de Yann Dedet (Le Pays du chien qui chante) et de Robert Cantarella. Il a participé – en tant que danseur et dramaturge –aux créations chorégraphiques de Mathilde Monnier, Déroutes (2002) et frère & sœur (2005). Pour plus sur Stéphane Bouquet, lire l'entretien avec Frank Smith sur NonFiction ICI ou l'entretien avec Emmanuel Laugier sur La Matricule des Anges ICI 

Eléna Rivera lives in New York but was born in Mexico City and spent her childhood in Paris. She is a poet and translator. The author of On the Nature of

Position and Tone, Field Press, (2012), The Perforated Map, (Shearsman Books, 2011), Remembrance ofThings Plastic, (LRL e-editions, 2010), Mistakes, Accidents and the Want of Liberty (Barque Press, 2006), Suggestionsat Every Turn (Seeing Eye Books, 2005), Unknowne Land (Kelsey St. Press, 2000), Wale; or, the Corse (Leave Books, 1995), and a pamphlet entitled Disturbances in the Ocean of Air (Phylum Press, 2005).  She won the 2010 Robert Fagles prize for her translation of Bernard Noël's The Rest of the Voyage, (Graywolf Press, 2011) and is a recipient of a 2010 National Endowment for the Arts Literature Fellowship in Translation. To listen to a recording of her reading with Bernard Noël for Double Change in Paris in 2010, click HERE. Her translation of Isabelle Baladine Howald’s Secretof Breath was published by Burning Deck Press in 2009. Recent work has appeared in The Volta: Trash Issue, 2014, guest curated by Laura Mullen. Her essay “The Perforated Map, and Writing the Unknown” appeared in 2013 in Transatlantica; Revue d'études américaines/American Studies Journal http://transatlantica.revues.org/6051. For more on Eléna Rivera, see her website at: www.elenarivera.net