October 11th; 7:30pm
Dixon Place 161A Chrystie Street 10002
New York, NY

Economies: Uljana Wolf and Erica Kaufman

Belladonna* Collaborative’s 2011-2012 season calls to attention the material life of the artist, as person, who, in addition to being creator/conspirator to a body of work, possesses a physical body, and real financial, medical and social needs. Our second event of the season focuses on economies and features readings by Uljana Wolf and Erica Kaufman. We will also be re-introducting the ‘short open mike’ — a space for poets to sign up on the spot and give a brief, 1 – 3 minute reading. We welcome you to bring a short work that addresses ‘material lives’ to the event, and will accommodate 15 minutes of open reading.

The German poet and translator Uljana Wolf published two books of poetry, kochanie ich habe brot gekauft and falsche freunde (both kookbooks, Berlin), as well as “BOX OFFICE” (an essay on the prose poem). false friends, an English selection translated by Susan Bernofsky, appeared from Ugly Duckling Presse 2011. Her poems appeared in journals and anthologies such as New European Poetry (Graywolf, 2008), Dichten No. 10: 16 New German Poets (Burning Deck, 2008), jubilat, Chicago Review, Harper’s Magazine. She translates numerous poets into German, among them Matthea Harvey, Christian Hawkey, Erín Moure, and Cole Swensen, and was the co-editor of the Jahrbuch der Lyrik 2009.

Erica Kaufman is the author of censory impulse (Factory School 2009)
as well as several chapbooks, most recently selections from INSTANT
CLASSIC (Least Weasel 2011). More poems from this recent project,
INSTANT CLASSIC, can be found online in Little Red Leaves and Elective
Affinities. Recent prose can be found in The Poetry Project Newsletter
and Rain Taxi. Kaufman is currently pursuing a Ph.D. at the CUNY
Graduate Center in Composition & Rhetoric, and teaches at Baruch
College and Bard College’s Institute for Writing & Thinking and
Institute for Language & Thinking.

2011 marks the 12th anniversary of the Belladonna* mission to promote the work of women writers who are adventurous, experimental, politically involved, multi-form, multicultural, multi-gendered, impossible to define, delicious to talk about, unpredictable and dangerous with language. Belladonna* has featured over 150 writers of wildly diverse age and origin, writers who work in conversation and collaboration in and between multiple forms, languages, and critical fields. As performance and as printed text, the work collects, gathers over time and space, and forms a conversation about the feminist avant-garde, what it is and how it comes to be.

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