SWPStaff

Acknowledgements

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ALLEN GINSBERG (1926–1997) Beloved Spirit, Co-founder

ANNE WALDMAN SWP Artistic Director, Co-founder

ANDREA REXILIUS SWP Coordinator

KYLE PIVARNIK Special Projects Manager

CHÖGYAM TRUNGPA RINPOCHE

(1939–1987) Founder

CHARLES G. LIEF

President

CHERYL BARBOURVice President for Student Affairs and Enrollment Management

TODD KILBURNVice President for Finance and Business Administration

JANET CRAMERProvost and Vice President for Academic Affairs

Cover Design: Brooke Graczyk Concept: Anne Waldman Lines of poetry: from Reed Bye’s “Winnowing Fan.” We wanted to illustrate the layers of our complicated Anthropocene, a human-inflicted world age of immense life-threatening dystopia and poetic and spiritual possibility. With a nod to Leonardo Da Vinci (1452–1519) who famously wrote “Blinding ignorance does mislead us. O! Wretched mortals, open your eyes!”

Naropa University’s SWP 2014 will feature the overall theme of “Anthropocene”—the world age where everything is woefully affected and conditioned by Man. Anthropos(Gk)=(Man, Human). We will examine how to shift the frequency in our writing practice and in our communities so as to call attention to the urgency of guardianship of our planet’s stability and sanity as best we can. The word “Anthropocene” was put into circulation by the Dutch chemist Paul Crutzen.

Anthropocene is being advocated as a designation to replace Holocene, our current geological epoch. Anthropocene marks the massive and destructive global impact human behavior has had on ecosystems, land use, biodiversity. Here we wish to invoke its use as conscientious—“awake”—planet citizens, poets, writers, activists, to imagine a greater, more radical change in the frequency of our homo sapiens sapiens domination and intention, and press for a creative vision of halting further harm to all animate and inanimate worlds.

About

JKS

MFA in Creative Writing & PoeticsThe MFA in Creative Writing & Poetics is a two-year, 48-credit, in-residence creative writing degree program. Students typically enroll in 9 credit hours per semester and 12 credit hours in the Summer Writing Program (over two summers).

MFA in Creative Writing (Low-residency)The MFA in Creative Writing is a low-residency degree program. To celebrate the 40th anniversary of Naropa University, the Jack Kerouac School of Disembodied Poetics will unveil a new MFA in Creative Writing curriculum in fall 2015.

BA in Creative Writing & LiteratureThe BA in Creative Writing & Literature major is a 36-credit degree program with a curriculum that balances writing workshops and literary studies requirements, reflecting the program’s mission to weave creative writing, reading, and critical analysis to foster a writer’s growth.

JKS Core Faculty: Junior Burke, Reed Bye, J’Lyn Chapman, Bhanu Kapil, Michelle Naka Pierce, Andrea Rexilius, Andrew Schelling, Anne Waldman

For information on all programs, contact Naropa’s Admissions Office at admissions@naropa.edu or call 303-546-3572.

Naropa University is accredited by the Higher Learning Commission and a member of the North Central Association of Colleges and Schools. Naropa University is a private, nonprofit, nonsectarian liberal arts institution dedicated to advancing contemplative education. This approach to learning integrates the best of Eastern and Western educational traditions, helping students know themselves more deeply and engage constructively with others. The university comprises a four-year undergraduate college and graduate programs in the arts, education, environmental leadership, psychology, and religious studies.

Naropa University provides a contemplative learning environment and course work integrating the study of traditional liberal arts disciplines with sensitivity to one’s personal growth and journey.

history

Documentary Poetics Interface between Writing & Research

The Summer Writing Program (SWP) is a four-week-long convocation of students,

poets, scholars, fiction writers, translators, performance artists, Buddhist teachers, musicians,

printers, editors, and others working in small press publishing. In dialogue with renowned practitioners, students engage in the composition of poetry, prose fiction, cross-genre work, inter-arts, translation, and writing for performance. Participants work in daily contact with some of the most accomplished and notoriously provocative writers of our time, meeting individually and in small groups so that both beginning and experienced writers find equal challenge in the program. The tradition emphasized is the “Outrider”

lineage—a heritage of powerful scholarship and counter-poetics operating outside the normative academic mainstream.

The program provides three distinct forums: writing workshops directed by guest

and resident faculty; lectures, readings, panels, and colloquia; and conferences in which students discuss their writings and ideas one-on-one with a faculty member. The traditional

roles of “teacher” and “student” break down as communication and learning flows between writer and writer.

The SWP has always been aligned with experimental open forms and practices of avant-garde postmodernist writing. We examine movements in creative writing practice that have revolutionized “the word,” bringing it closer to the human body and human voice. As the performance of a text includes the construction of elegant, non-corporate books and broadsides, we also offer letterpress printing classes each week.

Writing and Poetics Audio Archive Collection at the Naropa University ArchivesThe Writing and Poetics Audio Archive Collection at the Naropa University Archives has been recognized as one of the top literary audio archives in the United States. This unique collection has been recorded during the SWP every year since its inception in 1974. It contains readings, lectures, workshops, seminars, panels, and performances by poets and writers representing a wide range of schools and movements, including the New York School, Black Mountain School, Black Arts Movement, the San Francisco Renaissance, the Umbra group, the Nuyoricans, the L=A=N=G=U=A=G=E poets, and the Beats, as well as several generations of their artistic progeny.

Beginning in 2002, Naropa University undertook the Audio Archive Project with the mission to enhance the appreciation and understanding of postwar American literature and its role in social change, cultural criticism, and the arts, by preserving and providing access to the collection. Through grants from the NEA, NEH, Save America’s Treasures, the GRAMMY Foundation, and the additional support of private donors, two thousand hours of analog recordings have been digitized and preserved. Catalog records for the tapes have been created and are now available through the generous support of the Internet Archive, at www.archive.org (go to “Education” then “Naropa Audio Archive”). A dedicated listening station is also available on campus in the Allen Ginsberg Library.

For more information, please visit naropa.edu/allen-ginsberg-library. 1

of Summer Writing Program

history

Documentary Poetics Interface between Writing & Research

CHARLES ALEXANDER & CYNTHIA MILLER: Find, Set, Print, Act, Sing!

Celebrating the 40th anniversary of Naropa University, and considering the “Documentary Poetics Interface” theme of the week, our project in the Print Shop will have multiple characteristics. First we will find, through research in the Naropa Library and through our own resources, shards of writing by Naropa “elders.” As we gather work, we will consider the role of these writers, and of Naropa, in transformations

of American poetry and poetics of the last four decades. We will proceed to combine these shards of writing to what we might call a “grand collage,”

set them by hand and print them on the Vandercook Press, working with artist Cynthia Miller on design and possible illustration.

Charles Alexander is an artist: Poet, Bookmaker, and founder/director of Chax Press. Author of five full-length books of poetry and 10 brief chapbooks of poetry, editor of one critical work on the state of the book arts in America, author of multiple essays, articles, and reviews. Most recent book of poetry is Pushing Water, published by Cuneiform Press. Some Sentences Look for Some Periods, a chapbook, has just been released by Little Red Leaves.

Cynthia Miller holds degrees from the San Francisco Art Institute and the University of Arizona. She co-founded Dinnerware Artists Cooperative, served on the Tucson Pima Arts Council Board of Directors and the Boards of Chax Press and Tucson Poetry Group (POG). She creates paintings and installation sculptures with forays into the commercial art world, including illustration for books and music media.

DODIE BELLAMY: Poetry and HistoryThere are endless ways in which contemporary poets are addressing history, both

personal and collective. The use of historical material in poetry allows us to speak of absence and the hidden; to reinvent archaic mindsets; to embrace erasure, collage, and cut ups. Poetry can translate the past into new dialogues. Be it angry or pleasure- centered or even frivolous, when our poetry looks beyond the personal, it gains depth and resonance and social purpose.

Dodie Bellamy is a novelist, poet, critic, and cultural journalist. Her most recent book, from Les Figues, is Cunt Norton, a conceptual project that takes the second edition

of the Norton Anthology of Poetry and sexualizes it in the language of porn and desire. Her chapbook Barf Manifesto was named best book of 2009 under 30 pages by Time Out New

York. With Kevin Killian she is editing the Nightboat anthology New Narrative: 1975-1995. Forthcoming from Ugly Duckling is The TV Sutras, a cross-genre text about cults and charismatic bedazzlement. 2

week 1

Documentary Poetics is not owned or claimed by any particular poetry “school.” It looks to the past and the future, not being a product of conceptual poet-modern consciousness. One might do research on the latest computer or find gems in dusty libraries and used bookstores; there are annals in the strange offices and sub-basements and attics of the mind. Investigation, scholarship, sousveillance, dream, nightmare, endangered species/cultures/languages that need reclamation. Family histories, lineage trees, the possibilities are exciting and myriad. What needs our attention and a writer’s hand as we hunker down with our various and sundry projects?

LEE ANN BROWN: Poetry in the Arc Hive What is your obsession? How will you manifest the complexities of what you witness

in poetry? How do poets use research in different ways than scholars do? How can we redefine the archive? What is the relationship of documentary and archive? If honey is poetry, and we are the bees, what are the forms of our new hives? In this workshop, we will get busy engaging with texts, tools, and questions of the relationship between archival research, methods and implications of direct documentation, and sampling

and remixing as tools for poetry. Encounters with others’ works will be central to our explorations of new possibilities for poetry put forth by new tools and modalities.

Lee Ann Brown’s recent books of poetry include In the Laurels, Caught (Fence Books) and Crowns of Charlotte (Carolina Wren Press), a project for North Carolina. She

is co-editor of Far from the Fields of Ambition (Lorimer Press), a tribute anthology for Black Mountain College, and is founding editor of Tender Buttons press.

REBECCA BROWN: Documenting Our MonstersThe word “monster” shares an etymology history with “demonstrate;” the monster we

see or write demonstrates or shows us not only itself but something else and bigger -—a warning? a mark of being special? a lesson in how to survive? In this workshop we will create new work generated by mining and fictionally “documenting” the monsters or losers lurking, thriving, gnarling through our memories, dreams, subconscious, family stories we’ve heard, texts we’ve read, and god knows what

else. We will look at internal and external sources that gave rise to Mary Shelley’s Frankenstein in order to inspire the creation of our own reality-based but weirder,

stranger, and larger than life, verbal monsters.

Rebecca Brown is a writer, visual artist, and curator. Author of a dozen books published in the US and abroad. Brown’s books include American Romances (City Lights, 2009, winner of the Publishing Triangle Award); The Last Time I Saw You, The End of Youth, The Dogs: A Modern Bestiary, Annie Oakley’s Girl and The Terrible Girls (all with City Lights) and The Gifts of the Body (HarperCollins).

JULIE CARR:

Outside/Outside Myself There is a World: Writing Through Public Feeling

In this class, we will examine some key texts that fall under the category of “affect theory.” These text argue, in various ways, that emotions are not private, personal, or even individual, but that they are instead, shared, public, and therefore always political. We will read poets who seem to engage with this concept of “public feeling,” and we will pursue research-based writing projects and experiential exercises that

trouble the borders of self and other, of inside and outside, and of private and public.

Julie Carr is the author of five books of poetry, most recently 100 Notes on Violence, Sarah-Of Fragments and Lines, and RAG. She is also the author of Surface Tension:

Ruptural Time and the Poetics of Desire in Late Victorian Poetry. She lives in Denver and teaches at the University of Colorado. With Tim Roberts, she directs Counterpath Press and Counterpath Gallery.

KEVIN KILLIAN & NORMA COLE: The Desiring Effect Documents—not only finding them but putting them together—how? What is occasion,

what motivation? Do we move towards an outcome, or in rhythms? Suturing, tacking, pasting, and sculpting not only literary texts, but film, light and sound, food, garbage; the senses and gestures. In response to the deaths of our friends—Bay Area poets Stacy Doris, Leslie Scalapino, kari edwards, and Barbara Guest—the two of us took their words and created a theater work called Afterglow (2013). We use documents

pretty much as the alchemists of old used elements—to hasten the desiring effect, to return life to the inanimate.

Kevin Killian, one of the original “New Narrative” writers, has written three novels, Shy (1989), Arctic Summer (1997), and Spreadeagle (2012), a book of memoirs called

Bedrooms Have Windows (1990), and three books of stories, Little Men (1996), I Cry Like a Baby (2001), and Impossible Princess (2009). He has written three books of poems, Argento Series (2001), Action Kylie (2008), and Tweaky Village (2014).

Born in Toronto, Canada, poet, painter & translator Norma Cole moved to France in the late ’60s. Her most recent books of poetry include Win These Posters and Other Unrelated Prizes Inside, Where Shadows Will: Selected Poems 1988–2008, Spinoza in Her Youth and Natural Light. TO BE AT MUSIC: Essays & Talks made its appearance in 2010 from Omnidawn Press. Her translations from the French include Danielle Collobert’s It Then, Collobert’s Journals, Crosscut Universe: Writing on Writing from France, and Jean Daive’s A Woman with Several Lives.

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THOMAS SAYERS ELLIS: The Short Unhappy Marriage of Image and InfoIf photography is a way of seeing, then it might follow that writing is a way of thinking,

full of equally arousing decisive moments that blur the lines between documentation and aesthetic practice. In this workshop, we will search the interiors of photographs (and the exteriors of sight/research) in an attempt to discover and explore the samenesses and differences between scientific looking and poetic knowledge. The students will bring 5 small images to workshop, preferably ones that have no relation

of authorship to the student.

Photographer and poet Thomas Sayers Ellis received a MFA from Brown University in 1995. He is the author of Skin, Inc.: Identity Repair Poems (Graywolf Press,

2010) and his first collection The Maverick Room (Graywolf Press, 2005) was awarded the John C. Zacharis First Book Award.

KYOO LEE: Cogitøgraphy 3.0: Thinking-Writing-Reading … Still?

Thinking-writing-reading forms certain triceps of the mind, as performatively vocalized in The Tale (1980) by Meredith Monk, where the last line, “I still have my philosophy~” loops back into the first, “I still have my hands~” via the piano-player who hehahos her way in and out, as if born tickled. This daughter laughter fuels the text that weaves and waves itself out of itself, leaving that Latinic ego modernly undone—or redone. Indeed, at the end of the day, “how can it be denied (quâ ratione

posset negari) that these hands and this body are mine?,” as one queries in The Meditations (René Descartes, 1641), in passing. What, now? What next?

Kyoo Lee, the author of Reading Descartes Otherwise: Blind, Mad, Dreamy, and Bad (2012), and a co-editor of WSQ (Women’s Studies Quarterly) on “Safe” (2011) and CPR

(Critical Philosophy of Race) on “Xenophobia & Racism” (2014, forthcoming), is professor of philosophy at the City University of New York, where she teaches a wide range of courses at all

levels.

DAWN LUNDY MARTIN: Information Overload: The Perversity of KnowingThe disciplinary apparatuses of the state have taken forms of which we are newly aware. They watch and document under the auspices of providing safety for citizens. We, in turn, provide almost everyone with excess access to what we do, who we believe ourselves to be, and what we think. Is counter documentation possible? What does it mean to attempt to speak against power? What narratives, forms, languages,

gestures, and means toward performance can help us create future selves liberated from the overabundance of record? In this course, we will work toward uncovering

the effects of surveillance on writing and imagine strategies for refusing those effects. Together we will generate anti-dossiers that resist totality and information accumulation

(secret or other).

Dawn Lundy Martin is the author of A Gathering of Matter / A Matter of Gathering (2007), winner of the Cave Canem Poetry Prize; Discipline (2011), selected by Fanny Howe for the Nightboat Books Poetry Prize; Candy (Albion Books 2011); and the forthcoming Life in a Box is a Pretty Life (Nightboat 2104). She is the co-founder of the Third Wave Foundation in New York, a member of the Black Took Collective, and is an associate professor in The Writing Program at

the University of Pittsburgh.

FARID MATUK & SUSAN BRIANTE: Data Fields & Power GridsIn this workshop, we will look to the archival and the corporal, to external documents as well as to the meticulous recording of our lived experiences. Taking our inspiration from poets as diverse as Olson and Mayer, we will attempt to not only “dissect the web” as Rukeyser calls it, but to locate our place within it. We will explore research methods (archival investigation, field-notes, sampling, collecting) as well as forms

that foreground these methodologies. Throughout the week we will also consider how the singular lyric subject can register, recontextualize, and resist all manner of data.

Farid Matuk is the author of This Isa Nice Neighborhood (Letter Machine, 2010), recipient of a 2011 Arab American Book Award, finalist for the Norma Farber First Book

Award, and chosen by Geoffrey G. O’Brien for the Poetry Society of America’s New American Poets series. Matuk is also the author of several chapbooks including, most recently, My Daughter La Chola (Ahsahta, 2013). New poems appear in Third Coast, Iowa Review, Poets.org, Critical Quarterly, The Baffler, and Denver Quarterly, among others. He serves as contributing editor for The Volta and poetry editor for Fence. He lives in Tucson and teaches in the MFA program at the University of Arizona.

Susan Briante is the author of two books of poetry: Utopia Minus (Ahsahta Press 2011) and Pioneers in the Study of Motion (Ahsahta Press 2007). Of her most recent collection, Publisher’s Weekly writes: “this book finds an urgent language for the world in which we live.” Briante also writes essays on documentary poetics as well as on the relationship between place and cultural memory.

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ARIANA REINES: Marguerite Hardass Birth Chart SessionsNamed, in cloying good humor, to honor the rigor of Marguerite Duras, you and I will

work out some important themes starring the heavenly fact of your birth. We will read 10–15 pages of your writing against what the French call “your sky.”

Ariana Reines is the author of The Cow (Alberta Prize), Coeur de Lion, Mercury, Thursday, and TELEPHONE, a play, commissioned by The Foundry Theatre in 2009,

with two Obies. She has made performances for many venues, including The Museum of Modern Art, The Solomon R. Guggenheim Museum, The Swiss Institute, and Le

Mouvement Biel (Switzerland), and has translated three volumes from the French.

Claudia Rankine LECTURE: TUESDAy, JUNE 3 @ 3:00 P.M.READING: TUESDAy, JUNE 3 @ 7:30 P.M.Claudia Rankine is the author of four collections of poetry, including Don’t Let Me Be Lonely (Graywolf, 2004), and the plays, Provenance of Beauty: A South Bronx Travelogue, commissioned by the Foundry Theatre and Existing Conditions (co-authored with

Casey Llewellyn). Citizen: An American Lyric is forthcoming with Graywolf in 2014.

Eleni Sikelianos PANEL: TUESDAy, JUNE 3 @ 1:00 P.M.READING: THURSDAy, JUNE 5 @ 7:30 P.M.Eleni Sikelianos’s most recent book of poems is The Loving Detail of the Living & the Dead (Coffee House, 2013).

SPECIAl FIlM EVENT IN COllABORATION WITH CU BOUlDER

SATURDAy, JUNE 7 @ 2:00 P.M. CRAZY WISDOM:

The Life & Times of Chögyam Trungpa

The Life & Times of aLLen ginsberg directed by local Jerry Aronson

Special Events“

“

The whole blear world

of smoke and twisted steel

around my head in a railroad

car, and my mind wandering

past the rust into futurity:

I saw the sun go down

in a carnal and primeval

world, leaving darkness

to cover my railroad train

because the other side of the

world was waiting for dawn.

—Allen Ginsberg

week 2

week 2

The Kerouac School’s heritage is linked to contemplative practice. The Buddhist yogin, Naropa, whose name graces our university was a pundit of the 11th century, and both a yogin and a university administrator at the famed Nalanda University. The poet-saint Milarapa wrote famous dohas. Zen practice, contemplative mind, and devotion has produced some of the greatest poems in the world, from Tu Fu to Mirabai to Rumi to John Donne. Dharma references “things as they are” and the practice encourages “notice what you notice” (Allen Ginsberg) without clinging or doubt. Keats’s “negative capability”—being able to hold disparate thoughts in the mind without any irritable reach after fact or reason—resonates with the ideas here. The founders of the Kerouac School, Allen Ginsberg, Anne Waldman, and Diane di Prima, were all meditation students. The Kerouac School is founded on an ethos of mutual support, strength in community, non-competitive education, and “wild mind” tolerance. Trusting our imagination and one’s own consciousness and tender heart is a practice. Cutting through pretension and cliché. Naropa also honors other spiritual traditions in the arts and philosophy. Present will be writers in the mystical Christian and Native American spiritual traditions, as well as creative writers who work with somatics and other healing practices. Part of this week will include a half day of silent meditation.

REED BYE: Eyes to Horizon: Meditation and Poetry Spontaneous poetic practice provides a way of putting immediate perception

into lively verbal structures and seeing “how your thought patterns become elegant” (Chögyam Trungpa). The mindfulness developed in sitting meditation will provide a cue. We will read and discuss a number of short poems, consider their relation to the process of perception, and compose orally and in writing. As Basho said of haiku, “the composing must be done

in an instant, like felling a massive tree, like leaping at a formidable enemy, like cutting a watermelon, or biting into a pear.” We will also work with

collaborative composition.

Reed Bye’s most recent books include Catching On (Monkey Puzzle, 2013) and Join the Planets: New and Selected Poems (United Artists Books, 2005). A CD of original songs, Broke Even, came out this past summer from Fast Speaking Music. His work has appeared in a number of anthologies including Nice to See You: Homage to Ted Berrigan, Sleeping on the Wing, and Civil Disobediences: Poetics and Politics in Action.

CACONRAD: Bloodstone Quarries of the Spleen(Soma)tic poetry rituals create what we can refer to as an “extreme present”

set to reveal the creative viability of everything around us. We’ll be using bloodstone, a gem with a three-thousand-year history of bridging the root and heart chakras to trigger kundalini alignment. We will engird the various facets of bloodstone then bury them in the ground so we can absorb and later read the patient dictionaries of the Earth. Poetry as DIRT

is our aim, the place where the spleen is most content to nourish abstract thoughts pivotal to understanding Qi, or natural energy. With (Soma)tics we

will learn how even in crisis we can thrive through the poems, as well as learn to collaborate in unexpected ways with other artistic disciplines.

CAConrad is the author of six books including ECODEVIANCE: (Soma)tics for the Future Wilderness (Wave Books, 2014) and A Beautiful Marsupial Afternoon (Wave Books, 2012). The Book of Frank (Wave Books, 2010) has an Afterword by Eileen Myles and has been translated into German, Spanish, and Swedish. A 2011 Pew Fellow, a 2013 MacDowell Fellow, and a 2014 Lannan Fellow, he also conducts workshops on (Soma)tic poetry and Ecopoetics.

Dharma Poetics and Other Contemplative Practices

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BHANU KAPIL & MELISSA BUzzEO: The Charnel Ground

In this class we will bring all of our life and not life to bear on the tilting plane that is the charnel ground, metaphoric and real, timed and timeless, with direct contact to the sky—and thus the culture—from the ancient tradition of the dharma. Where does this site or non-site exist in our writings? How to get close enough to the cleaned bones and the path, the incisions, the decay, the attachment, the non-attachment, the revulsion as writers in ourselves, the ground itself. The blood. The blocked and crystal laded

mirrors. The delineated world. Opening up to what? What do we bring to there? What do we take from there? Who speaks from there? And what is lying there? All the bodies

uncovered. This passage through. As the sky opens and streaks. Offered. The freedom, the outer-species contact. That comes from the floor.

Bhanu Kapil has written five books. Notes for a novel never written: a novel of the race riot: Ban is forthcoming from Nightboat Books, 2014. She was a delegate to the third World Congress of the World Association of Cultural Psychiatry, where she spoke about the forces that the immigrant body: receives, transmits, deflects, organizes, and withholds.

Melissa Buzzeo has written four books: The Devastation (forthcoming, Nightboat Books, 2014), For Want and Sound (Les Figues, 2013), Face (Bookthug, 2009) and What Began Us (Leon Works, 2007).

JOANNE KYGER: Writing in Empty Space

Emptiness is what every writer faces before the creation of words. Chögyam Trungpa speaks of the experience of emptiness as being very ordinary—“ordinariness becomes its camouflage because it is so ordinary, clear, and precise.” This class will focus on the daily practice of filling this emptiness with notebook/journal writing, in all its myriad forms—and treating this form as a practice and publishable genre.

Joanne Kyger is the author of more than thirty books and chapbooks. Recent books are AS EVER: Selected Poems published by Penguin Books; Joanne Kyger: Letters

To and From from CUNY Poetics’ series Lost and Found; and 2012 published by Blues Press. Forthcoming from City Lights books is On Time. She has taught frequently at

Naropa since 1975.

SAWAKO NAKAYASU: Extended Improvisation on a ThemeMusicians, dancers, actors, and performers often use some form of structured

improvisation to create work. Likewise, in this workshop we will begin with a structural or thematic base to springboard from, in order to write expansively (or perhaps even narrowing into) an extended meditation with a particular strategy, framework, perspective, or theme—you choose your own path, frame, nugget, or mode, and we will work on writing serially, improvising through and against your own predilections.

Sawako Nakayasu writes and translates poetry, and also occasionally creates performances and tiny films. Her most recent books are The Ants (Les Figues,

forthcoming 2014) and a translation The Collected Poems of Sagawa Chika (Canarium Books, forthcoming 2014). Other books include Texture Notes (Letter Machine Editions,

2010), Hurry Home Honey (Burning Deck, 2009), and Mouth: Eats Color – Sagawa Chika Translations, Anti-translations, & Originals, which is a multilingual work of both original and translated poetry.

M. NOURBESE PHILIP: Speaking in Tongues: Destabilising the logic of language through Embodied Utterance

“...The metamorphosis from sound to intelligible word requires (a) the lip, tongue and jaw all working together.(b) a mother tongue. (c) the overseer’s whip.

(d) all of the above or none.” (“Discourse on the Logic of Language,” She Tries Her Tongue; Her Silence Softly

Breaks)

This course explores the relationship between text and an embodied poetics manifesting through orality and sound. How can we be heard and make ourselves heard through the logic of language; how do we develop a transformative embodied poetics? We will explore questions of how performativity and performance, including improv, collaboration, movement, dance, music and Silence, assist and contribute to creating spaces in which we can, indeed, speak in tongues; where the dialogue between text and orality is liberatory rather than oppressive.

M. NourbeSe Philip is a poet, essayist, novelist, and playwright who lives in the space-time of the City of Toronto. Her most recent work, zong!, is a genre-breaking poem which engages with ideas of the law, history, and memory as they relate to the transatlantic slave trade. Her honours include the Pushcart Prize, the Casa de las Americas prize for She Tries Her Tongue; Her Silence Softly Breaks and fellowships from the Guggenheim and Rockefeller (Bellagio) Foundations.

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MICHELLE NAKA PIERCE & SUE HAMMOND WEST:

Brain Body Breath: Perception in Ekphrastic Poetics

In this course, our senses will be trained to stimulate the nervous system and heighten our awareness. Experiential exercises shift sensitivities in the body and rebuild our creative vocabulary. While making text/image documents, we will progress through the steps of collecting, holding, amplifying, and externalizing: to let paint be paint (Cézanne), to lay one word next to another and give them equal weight (Stein), and to make the familiar

strange (Shklovsky). Somatic, maitri, and ekphrastic approaches will track resonance and embrace “failure.”

Award-winning poet Michelle Naka Pierce is the author of four chapbooks and four full-length books, including TRI/VIA (Erudite Fangs/PUB LUSH, 2003) co-authored with Veronica Corpuz; Beloved Integer (Bootstrap/PUB LUSH, 2007); She, A Blueprint (BlazeVOX, 2011) with art by Sue Hammond West; and Continuous Frieze Bordering Red (Fordham, 2012), awarded the Poets Out Loud Editor’s Prize. Pierce has collaborated with artists, dancers, and filmmakers and has performed her work internationally, most recently in France and in Japan.

Sue Hammond West is a painter and mixed media artist with a hunger for experimentation. She combines art making with the energy of Buddhism and yoga philosophy. She has taught at the School of the Art Institute of Chicago; Harshaw Creek, Arizona; Steamboat Springs Mixed Media Painting School; and Lill Street Studios in Chicago. Her exhibitions include Boulder Museum of Contemporary Art; Boulder Public Library; Leady Art Center, Kansas City; Beacon Street Gallery, Chicago; and University of Notre Dame Isis Gallery.

LAYLI LONG SOLDIER: Etymology: A Poem’s lifeWe will explore the ways in which a single word can yield a poem’s life. Choosing a

word or term from a heritage language, trade, discipline, or community vernacular, we’ll consider how this word shapes values, world view, or ideas surrounding identity through its denotation, connotation, and/or etymology. We will work to push the meaning, search for what lies latent in its potential, and redefine it according to our own dictionaries of experience and imagination. Through this, students will consider

how poetic form and sound can contribute to re-defining—allowing the eye and ear to guide the writing process. we

Layli Long Soldier holds a BFA in creative writing from the Institute of American Indian Arts and an MFA from Bard College. She resides in Tsaile, AZ, on the Navajo Nation

and is an adjunct faculty member at Diné College. She has served as a contributing editor to Drunken Boat. Her poems have recently appeared in The American Poet, The American Reader, The Kenyon Review Online, American Indian Journal of Culture and Research and the PEN America site. Her first chapbook of poetry is titled Chromosomory (Q Ave Press, 2010).

MARGARET RANDALL: Think Cosmic, Write From Deep Inside

We will explore poetry of radical change, in our own work and that of others. Anthropocene is the term Nobel chemist Paul Crutzen has used to name this epoch, in which the influence of human behavior on the Earth’s atmosphere is significant enough that it constitutes new geological time. Some scientists date the epoch as beginning with the Industrial Revolution. Others link it to earlier events, such as the rise of agriculture or the Neolithic Revolution. In this workshop we will explore a poetry of change, change as dramatic as that which defines a new geological period, when for the

first time the human imprint upon our Earth is as significant as an ice age or one of the great extinctions.

Margaret Randall (New York, 1936) is a poet, essayist, oral historian, photographer, and social activist. She lived in Latin America for twenty-three years (in Mexico, Cuba, and Nicaragua). From 1962 to 1969 she and Mexican poet Sergio Mondragón co-edited El Corno Emplumado / The Plumed Horn, a bilingual literary quarterly that published some of the best new work of the sixties.

JULIA SEKO: Conversations in letterpress: The Collaborative Page

Come together in thoughtful collaboration to design and print a group project. Learn to set type, mix ink, and run presses. We’ll discuss choices in typography, image making, materials, and structure to develop our visual vocabulary, and we’ll encourage the unexpected and serendipitous. Together we’ll make our way to the finished work.

Julia Seko is a letterpress printer, book artist, and proprietor of P.S. Press. She is adjunct faculty at Naropa University, where she helped set up the letterpress studio,

and her letterpress work is in university and private collections. Julia also co-founded the Book Arts League, a nonprofit letterpress and book arts organization.

PC: Heather Page

Lineages, Histories, Archives, and Beyond: Roots, Elders, Maps

Zoketsu Norman Fischer LECTURE: TUESDAy, JUNE 10 @ 3:00 P.M.READING: TUESDAy, JUNE 10 @ 7:30 P.M.Zoketsu Norman Fischer is an American Soto Zen roshi, poet and Buddhist author practicing in the lineage of Shunryu Suzuki. He is a Dharma heir of Sojun Mel Weitsman, from whom he received

Dharma transmission in 1988. He served as co-abbot of the San Francisco Zen Center from 1995–2000. Citizen: An American Lyric is

forthcoming with Graywolf in 2014.

Laird Hunt WRITER’S CHAT: THURSDAy, JUNE 12 @ 4:30 P.M.READING: THURSDAy, JUNE 12 @ 7:30 P.M.Laird Hunt is the author of five novels. His fiction, translations, reviews, and essays have appeared in The Believer, Bookforum, the Wall Street Journal, McSweeney’s among many other places. He is

currently on faculty in the creative writing program at the University of Denver and is the editor of The Denver Quarterly.

Fanny Howe LECTURE: FRIDAy, JUNE 13 @ 1:00 P.M.READING: FRIDAy, JUNE 13 @ 7:30 P.M.Fanny Howe is the author of more than twenty books of poetry and prose. “If someone is alone reading my poems, I hope it would be like reading someone’s notebook. A record. Of a place, beauty,

difficulty. A familiar daily struggle,” Fanny Howe explained in a 2004 interview with the Kenyon Review.

SPECIAl FIlM EVENT IN COllABORATION WITH CU BOUlDER

SATURDAy, JUNE 14 @ 2:00 P.M. SHORTS

BY STAN BRAKHAGE, HARRY SMITH & NATHANIEL DORSKY

AKILAH OLIVER:3 READINGS (ED BOWES)

HOWL (ROB EPSTEIN)

Special Events

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Archive is nest, is house, is reverie

Sometimes a wildebeest on the tundra remembers a former life

And an albatross crossed your shadow at sea one day…

—Anne Waldman

week 3

Lineages, Histories, Archives, and Beyond: Roots, Elders, MapsDissolves airing into throng rims. Erosion, spoke a carper by the canyon

The human lights in crystal clouds on scientif c grounds.

—Clark Coolidge

PC: John Sarsgard

PC: Danielle Vogel

The Kerouac School is celebrating its 40th year, and this week we will focus on some of the dynamic histories of persons and poetic literary movements of the past decades that have inspired and been held by the pedagogy at Naropa’s Creative Writing & Poetics program. The New American Poetry and Black Arts were triggers for a greater range of open form, “non-closure” poetries, cut-ups, sundry hybrids, OuLiPo considerations, Language strategies, activist poetics, collaboration, translation, visual arts, and jazz input. We will engage a scholarly look at some of the “scene” of the last decades.

CLARK COOLIDGE: The Burroughs Zone An exploration of the life and works of William Seward

Burroughs, one of the strongest voices in our literature. Dealing with all his major books, from Junky and Naked Lunch to The Soft Machine, the Wild Boys, The Red Night Trilogy, Book of Dreams, and Last Words, with special emphasis on his cut-up breakthrough and strategies, radical transformations of narrative and the extreme

poetry of fragmentation. Ride with Bill Lee the Exterminator and the Nova Mob, The Insect Trust, Hassan i Sabbah and the Heavy Metal Kid

through the gasoline crack of history. Follow Kim Carson from the red-lit cities to the old western lands. Here is your ticket to Interzone and Beyond. Rare

Recordings.

Clark Coolidge is the author of more than forty books of poetry. In 2011 he edited a collection of Philip Guston’s writings and talks for University California Press. Initially a drummer, he was a member of David Meltzer’s Serpent Power in 1967 and Mix group in 1993–1994. Currently he has returned to active drumming in duos with Thurston Moore and the on-going free jazz band Ouroboros.

RENEE GLADMAN: Topography of Prose In this workshop, we will traverse a long line of “immersive texts,” moving

through the past sixty years of innovative prose practice. We will advance a topographical understanding of the form, one that sees and writes into convergences of lines, loops, craters, and other contours of the page. Some guiding questions: How do we read the surface of a prose text? How do we use silence and the fragment? How do we rid a text of silence? How do we put a text

into motion or bring it to a standstill?

Renee Gladman is the author of eight books, including the Ravicka novels Event Factory, The Ravickians, and Ana Patova Crosses a Bridge. She is the publisher of Leon

Works and lives in Providence, RI, where she works and teaches at the intersections of architecture, narrative, and line drawing.

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JEN HOFER: Impossibility as TeacherErín Moure writes: “Though I am a translator, I always affirm that translation is

impossible. This appears to be, but is not, an unsustainable situation. It is, rather, creative.” Possibility nestles within impossibility: in translation practice, in writing practice, in political practice, in the daily rituals of moving through this difficult and troubled (we might say “impossible”) world. What might shift if we welcome impossibility as our teacher rather than our foil, our catalyst rather than our paralysis?

We will use our time and space together to explore questions of how to inhabit potential, inspiration, and radicality in contexts of difficulty, and to experiment with

methods for embodying possibility in structures of impossibility.

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 experimentation collaborative Antena. Her recent translations include the homemade chapbook En las maravillas/In Wonder (Libros Antena/Antena Books, 2012); Ivory Black, a translation of Myriam Moscona’s Negro marfil (Les Figues Press, 2011, winner of translation prizes from the Academy of American Poets and PEN); and two books by Dolores Dorantes (Counterpath Press and Kenning Editions, 2008).

JADE LASCELLES: leaden Roots: letterpress Printing as an Archival Act In the process of printing, of metal biting ink into a page, there is an undeniable notion

of preservation. Unlike the more intangible digital realm we often work in today, the letterpress shop is a space of creating the palpable, of flirting with the physicality in an object of writing. Through chapbooks, broadsides, and other book-type artifacts, letterpress printing has been an integral part of archiving the history of writers, thinkers, and artists. This will not be just an act of archiving but also a conversation on

the ways we may continue to grow our roots as communities and writers in lasting ways.

Jade Lascelles is a poet, letterpress printer, editor, unabashed literary nerd, and proud alumna of the Jack Kerouac School. After a lengthy migration period, she now

makes her home in Boulder, Colorado, where she teaches writing and literature and serves as the assistant to the Harry Smith Print Shop at Naropa University. Her writing has been featured in publications such as Bombay Gin, Gesture, and Periodical. Her power animal is a goat.

TRACIE MORRIS:

Circular lines and “The Idea of Ancestry”: A workshop on Embodying lineages. In this workshop, we’ll consider the concept of inspiration that *isn’t* self-generated. How do we embrace the reality that our art is not totally our own? How do we work with the idea that we wouldn’t be “here” if it weren’t for others? Other artists, persons, sentient beings, and other created objects make us part of communities. We reflect and contribute to these concentric communities in our creations and through

ourselves. Embodying the performance study concept of “twice behaved behaviors,” we will recall/play with/generate art that can contribute to the world on our own terms

*through* the appreciation of the contributions of others.

Tracie Morris is a poet who has worked extensively as a sound poet, band-leader, actor, and multimedia performer. Her sound installations have been presented at the Whitney Biennial, MoMA, Ronald Feldman Gallery, The Silent Barn, The Jamaica Center for Arts and Learning, The Drawing Center, The Gramsci Monument with Thomas Hirshhorn for the DIA Foundation and other galleries. She also leads her own eponymous band and is lead singer for Elliott Sharp’s group, Terraplane.

LAURA MULLEN: T(w)omb: Midwives in the ArchivesWhat’s to come finds (or makes) its origins in what’s gone but not forgotten. In this course, we’ll celebrate history by opening its implications, inviting out the ghosts who might most nourish our own work and strapping ourselves briefly into their bloody or blank places. Hybrid genre work is encouraged, but it’s really your choice—writing, in whatever form, imagined as something like a series of interventions, invocations, chalk outlines and uneasy supplications, working our hands deep in the slick of

the already said in order to turn time (on). Errata as prologue, memorials made of ephemera, some ardent scholarship and irreverent reenactments, and whatever else it

takes—we’ll try it. The past is always pregnant: a little labor helps the future out.

Laura Mullen is the author of seven books: Enduring Freedom: A Little Book of Mechanical Brides, The Surface, After I Was Dead, Subject, Dark Archive, The Tales of Horror, and Murmur. Recognitions for her poetry include Ironwood’s Stanford Prize, a National Endowment for the Arts Fellowship, and a Rona Jaffe Award, among other honors.

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PC: Mikey Muscat

PC: First Person Plural Harlem 2013

HOA NGUYEN: I as Correspondent “It is a human universe and I / is a correspondent”—Ted Berrigan

Taking cues from Jack Spicer, Charles Olson, Alice Notley, and others, we will explore “I” as correspondent—how to, as Joanne Kyger says “Get ‘me’ out of the way.” We will examine samples from elder and contemporary poets and employ various writing strategies including collage, Oulipo techniques, rhetorical strategies, and more.

Born in the Mekong Delta and raised in the Washington, D.C. area, Hoa Nguyen studied Poetics at New College of California in San Francisco. With the poet Dale

Smith, Nguyen founded Skanky Possum. The author of eight books and chapbooks, she currently lives in Toronto where she teaches poetics in a private workshop and at Ryerson

University. Wave Books published her third collection of poems, As Long As Trees Last, in September 2012. A gathering of her early uncollected poems, Red Juice, will be released by Wave Books in September 2014.

KHADIJAH QUEEN: Narrative (Re)InventionWe will consider a global history of the personal-political narrative, particularly in

the context of self-determination and survival. The body and the homeland as sites of contention in the narratives of enslaved people, first-person accounts of war, imprisonment, genocide, persecution, and other traumas will be discussed alongside innovative contemporary approaches to similar subjects mostly in poetry, but also prose, visual art, and film. Students should be prepared to consider their own creative and/or

personal lineage(s) via in-class exercises and performance.

Khadijah Queen is the author of Conduit (Black Goat/Akashic Books, 2008) and Black Peculiar, which won the 2010 Noemi Press book award for poetry and was a

finalist for the Gatewood Prize at Switchback Books. Individual poems appear in Best American Nonrequired Reading, jubilat, Aufgabe, Fire and Ink: A Social Action Anthology, and many others. Prose appears in Memoir, Rattle, Cutthroat and forthcoming in The Force of What’s Possible (Nightboat, 2014).

STACY SzYMASzEK: Mind Phenomena In this class, we’ll trace a dynamic poetic lineage of the zen conception of language itself

as phenomena. We’ll focus on the work of Philip Whalen and Leslie Scalapino, with a look to some of the classical Japanese texts that influenced each of them, such as The Tale of Genji. We’ll also read the works of some of the present day receivers of this lineage of “mind phenomena”—or, as Scalapino said in her introduction to Whalen’s Collected Poems, “the mind creating self, and simulation of history, the inside and the

outside together.”

Born in Milwaukee, WI, Stacy Szymaszek is the author of the book-length collections Emptied of All Ships (2005) and Hyperglossia (2009). Some of her published

chapbooks are Pasolini Poems (2005), Orizaba: A Voyage with Hart Crane (2008), Stacy S.: Autoportraits (2008), from Hart Island (2009) and austerity measures (2012).

LEWIS WARSH: Remembering the PresentThe characters in our stories all live double lives, just like we do, shifting from past

to present, negotiating the border between external and internal worlds. Let’s look closely into the present, using memories, daydreams, distractions, observations, secrets, and fantasies as our raw material, and explore how we can translate all the details of the moment into fiction.

Lewis Warsh’s most recent books are One Foot Out the Door: Collected Stories, A Place in the Sun, Inseparable: Poems 1995–2005, and The Origin of the World. He is

editor and publisher of United Artists Books and teaches in the MFA program at Long Island University, Brooklyn.

MATVEI YANKELEVICH: Fragments and Fugitive Traditions: Writing for No One Our working group will commune with writing that sentences itself to infamy,

obscurity, untranslatability, poetry that tests the boundaries of the printed word or leaves the page entirely to exist—ephemerally or physically—in the world outside the book. We will read poets in isolation (political, cultural, linguistic), poets who wrote “for the desk drawer,” in the margins of culture, language, or sanity: Ivan Blatny, Alfred Starr Hamilton, Daniil Kharms, Vsevolod Nekrasov, Lev Rubinstein,

David Schubert, Alexander Vvedensky. Through our own practice and in discussions of the readings, we will try to answer some hard questions about the nature of

writing, the relation between the medium of the notebook and the technology of the book, and the ideological constraints of Literature.

Matvei Yankelevich is the author of the poetry collection Alpha Donut (United Artists) and the novella-in-fragments Boris by the Sea (Octopus), and the translator of Today I Wrote Nothing: The Selected Writings of Daniil Kharms (Overlook/Ardis). He is one of the founding editors of Ugly Duckling Presse, where he edits and designs books, and curates the Eastern European Poets Series.

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Jack Collom PANEL: TUESDAy, JUNE 17 @ 1:00 P.M.READING: TUESDAy, JUNE 17 @ 7:30 P.M.Jack Collom was born in Chicago in 1931 and grew up in small town Illinois. Much walking and bird watching in the woods. Moved to Colorado in 1947, studied Forestry. Twenty years factory

labor, now for nearly forty years a freelance teacher of poetry, all ages. MA, University of Colorado. Twenty five books/chapbooks of

poetry, three books on/of children’s writings.

Josepha Conrad LECTURE: TUESDAy, JUNE 17 @ 3:00 P.M.READING: THURSDAy, JUNE 19 @ 7:30 P.M.Josepha Conrad is a Berlin-based poet and musician. She grew up in Frankfurt am Main and in Chicago. In 1998 she received an MFA in “Writing and Poetics” from the Jack Kerouac School of Disembodied Poetics. She has released three albums under the

borrowed name of Susie Asado: Hello Antenna, Traffic Island, and Onward Aeropuerto.

Bobbie Louise Hawkins READING: SATURDAy, JUNE 21 @ 7:30 P.M.Bobbie Louise Hawkins, one of the founders of Naropa University’s Jack Kerouac School of Disembodied Poetics, is a fiction writer, monologist, performer, and poet. She has published more than twelve books of fiction, performance monologues, and poetry.

David Henderson LECTURE: THURSDAy, JUNE 19 @ 1:00 P.M.READING: THURSDAy, JUNE 19 @ 7:30 P.M.David Henderson’s poetry books include the award-winning De Mayor of Harlem and Neo-California. He is a recipient of the Foundation for Contemporary Arts award for poetry, as well as grants from the California and New York foundations for the arts.

His biography: ‘Scuse Me While I Kiss the Sky: Jimi Hendrix Voodoo Child is available in a new 2009 revised and updated edition.

SPECIAl FIlM EVENT IN COllABORATION WITH CU BOUlDER

SATURDAy, JUNE 21 @ 2:00 P.M. WILLIAM S. BURROUGHS: A MAN WITHIN

IN MOTION: AMIRI BARAKA

OUTRIDER(DIRECTED BY ALYSTYRE JULIAN)

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CAROLINE BERGVALL: Call & ResponseWe will start out by thinking through Edward Said’s notion of the

musical counterpoint as a structure for inclusive creativity and responsive critical spirit. We will then apply ourselves to imagining and exploring ways by which such a counterpuntal structure could be used in writing and performance to create various forms of call-and-response. We will ask: What is a call? What is a response? How does

one create a form of writing, of performing, which seeks to respond to a call, not by echoing it, but rather by complicating and enriching it.

How can one make disparate elements function in dialogue with one another?

Caroline Bergvall is an artist and writer of French-Norwegian origins, based in London. Her language-based pieces and interdisciplinary structures tackle literary models as well as difficult historical and political events, issues of cultural belonging, bilingualisms, speech for pleasure, speech as trauma.

EDMUND BERRIGAN:

To sing and to survive: writing in collaboration with life

Writing has never been a solitary act—it is a constant collaboration of ideas, influences, environment, and personal conditions. For the poet, studying writing is not enough—eventually the world kicks your door in and demands a response. Writing poetry is an avenue of dynamic understanding and escape, of responding to harsh conditions, and of sharpening your senses

to the necessities of personal/psychic/emotional survival. How do we access this information? How do we keep it interesting? How do we survive it?

Edmund Berrigan is the author of two books of poetry, Disarming Matter (Owl Press, 1999) and Glad Stone Children (Farfalla, 2008), and a memoir, Can It! (Letter Machine Editions, 2013). He is editor of the Selected Poems of Steve Carey (Sub Press, 2009), and is co-editor with Anselm Berrigan and Alice Notley of the Collected Poems of

Ted Berrigan (University of California, 2005) and the Selected Poems of Ted Berrigan (University of California, 2010). He is an editor for poetry magazines Vlak and

Brawling Pigeon, and is on the editorial board of Lungfull!.

MARY BURGER: Figuring and GroundingAnaximander, the first philosopher of ancient Greece, was

also the first Greek to write in prose (logos, the language of knowledge and of everyday speech), and the first to make a map of the world. In the map, the world became a spectacle (theoria). A (theoria) could also be a journey or a voyage to see the world. A theoros was a spectator and a traveler. To theorize (theories) was to see the

world. Prose, the sentence, is both map and theory. A map is a speculation on what we know, a theory is an

assertion of what we want to be. Let’s find out where we think we are. Let’s mess up the boundaries. Let’s break the record and rewrite the score.

Mary Burger is a writer and visual artist based in Oakland. Her books include Then Go On, a collection of short prose (Litmus Press, 2012), A Partial Handbook for Navigators, writings on relationships to place (Interbirth Books, 2008) and Sonny, a novella on the Trinity bomb test

(Leon Works, 2005). With Robert Glück, Camille Roy, and Gail Scott, she co-edited

Biting the Error: Writers Explore Narrative, an anthology of theoretical writings about

narrative practice.

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This week, we honor the Kerouac School’s commitment to cross-arts fertilization and community. How do we—as artists—awaken the world to itself? By raising the decibels,

composing a lullaby, or choralizing our language with multi-tracks? How may our vocalizations suggest a new timbre for the imagination? We examine the power of our

texts and our solo “vox”—the sounds made by the human mouth—which can also be augmented by others in collaboration, and by the music and the magic of

the recording studio. We might compose libretti for the future. We sing and dance back our negativity in the Anthropocene.

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AMBROSE BYE: Artists Recording Artists

WE will be poets/musicians/producers. WE will bring voices/instruments/noises. WE will gather in Harry Smith’s old cottage and document our art through the recording studio that now inhabits the space. WE will combine poetry/sound/music both deliberately improvised and deliberately deliberate. WE will have guest appearances from faculty and other workshops. WE will sound/listen/react. WE will record everything and examine some recording/mixing/producing techniques. WE will

learn/teach/work together. WE will archive all our recordings and release them into the airwaves.

Ambrose Bye, composer/musician/producer, grew up in the environment of the Jack Kerouac School, graduated from the University of California, Santa Cruz, and was trained

as an audio engineer at the music/production program at Pyramind in San Francisco. Working primarily with poets, he has worked on and produced many albums, including The Eye of the Falcon, Matching Half, The Milk of Universal Kindness, Comes Through in the Call Hold, and Harry’s House, a compilation from recordings done at Naropa University.

DOUGLAS DUNN: Writing While Dancing

Dance to bring reality inward to original bud. Work from there outward, kneading the medium with innocent intuition. Follow forms’ leads; no thoughts regarding effects. Implicit politics: unspoken until body is full. Juxtapose this original vision with someone else’s, same medium or different. Edit all, in collaboration, with thoughtful judgment, wary of social-persona censorship at all levels, yours, your friend’s, media’s. Understand the present world’s pathways to being heard. Decide how much, if any; of the displays of your vision you are willing to sacrifice to be lent ears.

Douglas Dunn, in 1971, while a member of Merce Cunningham & Dance Company, and of Grand Union, began presenting work in New York City. In 1976, he formed

Douglas Dunn & Dancers and began touring the US and Europe. In 1980, the Paris Opera and the Autumn Festival invited him to set Stravinsky’s Pulcinella on the Paris Opera Ballet. In 1998, he was awarded a New York Dance & Performance Award (Bessie) for Sustained Achievement, and in 2008 was honored by the French government as Chevalier in the Ordre des Arts et des Lettres.

ERICA HUNT & MARTY EHRLICH: Music and WordsIn the right circumstances, a musical phrase can set you off—somewhere between

reverie and roll, a perilous Senegalese rotation on bent and weak knees, a risky speculation, a wild association word chase into a microcosm found and fashioned. Sound embodied and word souled in the rise and swerve of notes. Discernible innovation in the tumble of hierarchy, where top, bottom, interior, exterior, the entire tool box can be animated, thoughts’ enactment, elements of language that take the breath away or restore breath to ordinary life.

Erica Hunt is a poet, essayist, and author of Local History, Arcade, as well as two poem chapbooks, Piece Logic and Time Flies Right Before the Eyes.

Publications include BOMB, Boundary 2, Conjunctions, Poetics Journal, Tripwire, Recluse, various anthologies, and the Politics of Poetic Form. Hunt has received awards from the Foundation for Contemporary Art, the Fund for Poetry and the Djerassi Foundation.

Marty Ehrlich is a multi-instrumentalist and is considered one of the leading figures in experimental or avant-garde jazz. He has performed with a who’s who of contemporary composers including Muhal Richard Abrams, Bobby Bradford, Anthony Braxton, Andrew Cyrille, Jack DeJohnette, Anthony Davis, Mark Dresser, Marianne Faithful, Don Grolnick, Julius Hemphill, and John Zorn. He appears on over one hundred recordings with these and other composers.

THURSTON MOORE: Machine Boys are Electronic

Investigating the direct influence of William S. Burroughs as writer and evocative figure in rock n roll. We will look at the practice of “cut-up,” how it has informed specific lyricists in rock music culture as well as the inspiration and intrigue W.S. Burroughs has had in the culture as such (Fugs, Beatles, Velvet Underground, Soft Machine, Rolling Stones, Sex Pistols, Patti Smith et al)—from psychedelic to progressive to punk rock music and beyond.

Thurston Moore is founder of the NYC rock group Sonic Youth. He has worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Lydia Lunch, John

Zorn, and Glen Branca. He has composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders. His writing has been published through various imprints. He runs

the Ecstatic Peace records + tapes label, edits the Ecstatic Peace Poetry Journal, and is chief editor of Ecstatic Peace Library and the poetry imprint Flowers & Cream.

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BRAD O’SULLIVAN: Shadowcasting & The language of MachineryLetterpress printing allows writers to physically interact with readers by forcing

language into the page, a tactile sensibility not possible with more contemporary methods of printing. It’s intimate and immediate, and it’s born of a syncopated, stubborn process. So, sleeves up & fingerdeep in the stuff of language, we’ll use the press as a compositional tool in the production of a collaborative printed piece.

Brad O’Sullivan collects meaningless objects and founded Underscore, a typewriter band. He’s a letterpress printer, writer, teacher, vinyl enthusiast, and

proprietor of Smokeproof Press, a letterpress workshop. He believes the pencil to be a transformative tool and lives with his family in downtown Boulder.

STEVEN TAYLOR: Song WorksIn this class, you belong to a band for a week. At our first meeting, we use the Smithsonian

Folkways Anthology of American Folk Music to model various song genres. The class then becomes an ensemble where we collaborate on one another’s performance pieces. No previous experience required. All you need is a willingness to sing. Please bring whatever instruments you have, the more diverse the ensemble the better.

Steven Taylor is a musician and writer based in Brooklyn. For twenty years, he was Allen Ginsberg’s principal musical collaborator. He has been a member of

the Fugs since 1984. His account of touring the European underground rock scene, False Prophet: Field Notes from the Punk Underground, was published by Wesleyan

University Press in 2003.

EDWIN TORRES: Brainlingo: Writing The Voice Of The Body

Poets are creatures of awareness, receptive beings that embody transition. Part of allowing the creative process its chance to amaze is to encourage that trigger into amazement, to align our natural tri-lingual voice, our speaking-seeing-hearing voice, into a lateral extension of the ground we claim—the transformative roar that defines our humanity. Brainlingo explores that process in a movement workshop structured as a creative laboratory—where the senses can meet each other, where the creative

process can begin.

Edwin Torres is the author of eight poetry collections including Ameriscopia (University of Arizona Press, 2014), Instant Fate Lift (Least Weasel Chapbooks, 2014),

and Yes Thing No Thing (Roof Books, 2011). He’s performed worldwide and received fellowships from The DIA Foundation, NYFA, and The Foundation from Contemporary Performance Art, among others. Anthologies range from Aloud; Voices From The Nuyorican Poets Café (Hoyt, 1994) to Kindergarde: Avant Garde Poems, Plays and Songs For Children (Black Radish Books, 2013).

ANNE WALDMAN: Six Realms of Performance

We will consider the Buddhist “Wheel of Life” with its realms of Hell, Hungry Ghost, Animal, Human, Warring, and “God realm” as a template for investigating states of mind, psychology, and action, as well as a potential for our own writing and its performance. We will create hybrid texts working with research, documentation, erasure, memory, dream, and other “experiments of attention” and record some of our pieces in collaboration with Ambrose Bye in the Harry’s House recording studio.

Anne Waldman has been a prolific and active poet, performer, editor and teacher many years, a founder of the Jack Kerouac School and artistic director of

its celebrated Summer Writing Program. She is engaged with creating radical hybrid forms for the long poem, both serial and narrative, and engaged in “documentary poetics,”

which fuels her ethos as a cultural activist. Waldman has been deemed a “counter-cultural giant” by Publisher’s Weekly, is a Guggenheim fellow for 2013–14, and a Chancellor of The Academy of American Poets.

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And God said let us make MAN in our own image,after our likeness and let them have dominion.”

And “Nature may stand up and say to all the world, ‘This was a MAN!’”

And then “I pronounce you MAN and wife.”

Daddy you is dandywhen you’re here. Shrill and soft old Autumnalwind blow and we are tucked below

the shallow soil where seeds spring up and wither quickly flirting madly —Joanne Kyger

SPECIAl FIlM EVENT IN COllABORATION WITH CU BOUlDER

SATURDAy, JUNE 28 @ 2:00 P.M. FRIED SHOES,

COOKED DIAMONDS (DIRECTED BY COSTANZO ALLIONE)

THE POETRY DEAL ON DIANE DI PRIMA

Meredith Monk FILM SCREENING: THURSDAy, JUNE 26 @ 12:30 P.M.PERFORMANCE: FRIDAy, JUNE 27 @ 7:30 P.M.Meredith Monk is a composer, singer, director/choreographer, and creator of new opera, music-theater works, films, and installations. A pioneer in what is now called “extended vocal technique” and “interdisciplinary performance,” Monk creates works

that thrive at the intersection of music and movement, image and object, light and sound in an effort to discover and weave together new

modes of perception. Her groundbreaking exploration of the voice as an instrument, as an eloquent language in and of itself, expands the boundaries of

musical composition, creating landscapes of sound that unearth feelings, energies, and memories for which there are no words.

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Dharma Arts Presenters: Katharine Kaufman Robert Spellman Lee Worley Giovannina Jobson

MFA lecturers: Eric Baus J’Lyn Chapman April Joseph Joanna Ruocco

BA Coordinator: Tim z. Hernandez

Meditation Instructor: Giovannina Jobson

Students and Summer Writing Program community are encouraged to visit the Shambhala Mountain Center in Red Feather Lakes, Co. A two-hour drive from Boulder, SMC has a memorial garden with the ashes of Allen Ginsberg, poet and co-founder of the Jack Kerouac School. It is close to the Great Stupa, which the Dalai Lama has called “An inspiration for peace and happiness throughout the world, now and in the future.” The stupa is open daily from 10 a.m. to 6 p.m. Tours are offered Saturdays and Sunday at 2 p.m. Suggested contribution of $10. For further information: stupa@shambhalamountaincenter.org

Shambhala Mountain Center

“ “

ARTISTS TO My MIND ARE THE REAL ARCHITECTS OF

CHANGE, AND NOT THE

POLITICAL LEGISLATORS WHO IMPLEMENT CHANGE

AFTER THE FACT.— WILLIAM S. BURROUGHS

From the founding of the Jack Kerouac School at Naropa University in 1974, Amiri Baraka has been a true friend, close to the founders, Allen Ginsberg, Diane di Prima, and Anne Waldman. He always brought his provocative, fiery spirit, his intelligence, and his unique aural and vibratory poetry to this community over many years. He is part of making a better world through cultural revolution and uncompromising humanity. We offer our deep condolences to his family and community

in Newark, and to his friends and colleagues around the world. May his spirit continue to wake people up to their most creative and profound natures.—Anne Waldman

[DIS]EMBODIED POETICS CONFERENCE

The inaugural launch of [DIS]EMBODIED POETICS occurs in conjunction with Naropa University’s and Jack Kerouac School’s 40th anniversary year. In celebration, we invite JKS alumni and the poetics community to submit proposals for panels and papers that speak to the theme of Writing/Thinking/Being: the creative, the critical, the contemplative. The conference will take place October 10–12, 2014 at Naropa University’s Arapahoe Campus.

WRITING to experiment, to investigate, to transform, to translate, to document, to delve, to open, to cultivate, to traverse, to linger, to desire, to excavate, to archive, to innovate, to articulate, to script, to mark, to trace, to letter, to carve, to make.

THINKING to enter, to question, to communicate, to juxtapose, to transgress, to deterritorialize, to determine, to locate, to diverge, to see, to synthesize, to imagine, to dialogue, to theorize, to complicate, to problematize, to resist, to turn, to explore, to poeticize, to frame.

BEING to exist, to contemplate, to become, to transform, to meditate, to breathe, to experience, to expand, to dilate, to converge, to activate, to realize, to wander, to return, to mark, to observe, to empty, to stir, to embody.

October 10–12, 2014

19 AMIRI BARAKAOctober 7, 1934—January 9, 2014

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In the PrintshopThe Harry Smith Print Shop features a Chandler and Price platen press and a Vandercook SP-15 proof press. Courses are offered for students who wish to learn printing techniques using distributable type on both platen and proof presses and add a fine crafts dimension.

The core press and much of the older Perpetua type were originally owned by poet Lyn Hejinian’s Tuumba Press. Poets printed in this press included Alice Notley, Fanny Howe, Clark Coolidge, Michael Palmer, Ron Silliman, Bob Perelman, and Charles Bernstein. After Lyn passed the press on to David Sheidlower, David used the imprint Coincidence Press. He printed chapbooks by Larry Eigner, Pat Reed, Andrew Schelling, Robert Kelly, Rachel DuPlessis, and others. When David decided to stop printing, he offered his print shop, including the historic Chandler & Price Platen press, to Naropa. Later, equipment arrived from Rydall Press, which was founded by friends of DH Lawrence, and from Ken Mikolowski’s Alternative Press. The larger platen press was received from Salt Works Press and dates back to 1915. Type and more equipment have been added, thanks to the generous gifts from donors.

The Kavyayantra Press is the imprint for chapbooks and broadsides published through Jack Kerouac School. The press is housed in the cottage where filmmaker, scholar and musicologist Harry Smith resided.

This year the Summer Writing Program will create a broadside in memory of Amiri Baraka.

apply

how

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All four weeks (or any combination of weeks) are open to any interested participant for noncredit. Students from other institutions or degree programs may also elect to attend for undergraduate or graduate credit. Each student selects either one workshop or printshop class to attend per week. Weekly workshops run on Monday, Tuesday, Thursday, and Friday mornings from 9:30 a.m.–12:00 p.m. Printshop and book arts classes run from 9:30 a.m.–12:00 p.m. Afternoons are devoted to lectures, special graduate and undergraduate credit classes, panel discussions, readings, and performances.

There is no application process for noncredit students. Students from other universities who elect to take the program for undergraduate credit (1.5 credits per week) or graduate credit (2 credits per week) must apply at my.naropa.edu/ICS/Public_Registration/ by June 1.

Naropa Degree-Seeking Students Beginning March 11, Naropa MFA writing students will have the opportunity to register for the Summer Writing Program workshops on MyNaropa. Graduate students

are encouraged to take all four weeks in order to complete their degree on time. Jack Kerouac School degree-seeking students may not begin their Naropa degree program in the summer but may take

the summer as noncredit or non-degree-seeking credit students.

Undergraduate and non-JKS graduate students already enrolled at Naropa who want to take the summer for academic credit need to meet with their academic advisor before

they will be able to register online.

Non-Naropa for-Credit Students Contact the Summer Writing Program Office or visit naropa.edu/swp for more information on becoming a non-degree-seeking credit student. Keep in mind that SWP weeks taken for undergraduate credit cannot be later

converted to graduate credit and vice versa, and applicants for graduate credit must have a bachelor’s degree. Students seeking credit should first meet with their academic

advisor in their home institution. Please see the website for more information: naropa.edu/swp

Noncredit Students Students can take the SWP for any combination of the first, second, third, and/or fourth weeks. SWP weeks taken for noncredit cannot be converted to credit at a later

date. Please consider carefully if you anticipate you may need credit in the future.

Once a nondegree student fills out the appropriate online registration form, indicating biographical information and 1st, 2nd, and 3rd choices of workshops, s/he will be directed to enter credit

card or e-check information to pay for the course. Once the student hits “submit,” s/he will be directed to a website thanking them for their registration and indicating that they will receive confirmation of registration, as well as login information for MyNaropa within three business days. The student will also receive an email version of this message, along with a copy of their original registration form.

Noncredit students can register online at: my.naropa.edu/ICS/Public_Registration/

Add/Drop Policy Noncredit students have until Monday at 3:30 p.m. of each week to drop the SWP without financial penalty. Noncredit students must drop the course online or contact the registration coordinator at 303-546-3511 or registration@naropa.edu. If a noncredit student chooses to withdraw from the SWP AFTER 3:30 p.m. on Monday, the student will be financially responsible for the entire week.

All for-credit students have until 3:30 p.m. on Monday of each week to drop that week of SWP without suffering financial or academic penalty. Students who drop a course on Tuesday will

not receive a refund and will have a withdrawal listed on their transcripts. Students who drop on Wednesday, Thursday, or Friday will fail the course. Students must drop online

via MyNaropa or contact the registration coordinator at 303-546-3511 or registration@naropa.edu. If a student does not complete the necessary paperwork, s/he will be

held both financially and academically responsible for the entire week. In the event of a medical emergency, students must contact their academic advisor by the

deadline.

Student Housing Weekly housing is available for SWP students at Snow Lion. Housing is available for one, two, three, or all four weeks of the SWP. Snow Lion is located four residential blocks from the 2130 Arapahoe campus. There are both one-bedroom and two- bedroom apartments available. For more information regarding housing or to make a reservation, please check the Naropa housing website at naropa.edu/student-life/housing

For information about off-campus housing please go to: naropa.edu/student-life/housing/off-campus-

housing-resources.php23

Naropa StudentsDegree-seeking students taking the program for graduate or undergraduate credit may be eligible forfederal financial aid if enrolled for at least 6 credits (four weeks for undergraduate credit, three tofour weeks for graduate credit). Naropa undergraduate and graduate students should complete theFAFSA or the International Student Financial Aid application by March 1 in order to be consideredfor any forms of institutional or federal aid. The FAFSA is available at fafsa.ed.gov. Theinternational student financial aid application is available atnaropa.edu/documents/departments/financial-aid/14-15-intl-aid-application.pdf.

Non-Degree-Seeking Credit StudentsStudents who are enrolled as degree-seeking students at another institution and are taking the SWPfor credit should contact the financial aid office at their home institution for information regardingeligibility for aid.

The Zora Neale Hurston Award is awarded to selected students who identify with, or who have experience working with people from diverse cultural and ethnic backgrounds. The award amount covers partial to full tuition (for all recipients) and housing costs (for out-of-state recipients) for one to four weeks of the Summer Writing Program (credit or noncredit). The award is based on exceptional literary merit and promise as well as financial need.

The Summer Writing Program Scholarship in memory of kari edwards is offered annually to one credit or noncredit student accepted into Naropa University’s Summer Writing Program. Eligible applicants must be a U.S. citizen or permanent resident, and be involved in gender activism and writing experimental works.

The Leslie Scalapino Award will be offered each year to one MFA Creative Writing and Poetics or MFA Creative Writing student attending the Summer Writing Program who has a body of work in the field of experimental postmodern women’s poetry and poetics. Applicants must demonstrate financial need, be a United States citizen or permanent resident of the United States, and have a GPA of 3.5 or higher.

The Institute of American Indian Arts Award is given annually to one current undergraduate student enrolled at the Institute of American Indian Arts, who will be attending the SummerWriting Program. The award covers full undergraduate tuition for the four weeks of the SWP and includes housing.

To apply for any of these awards, go to naropa.edu/academics/jks/summer-writing-program/scholarships-and-financial-aid.php

All applications are due by April 1, 2014. Awards will be announced in early May.

scholarshipsfinancial aid &

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Publishing innovative fiction, poetry, essays and interviews since 1965.

Recent contributors include Steve Katz, Anne Waldman, Percival Everett, Maureen Owen, Gail Scott, Brenda Coultas, Lewis Warsh, Azareen Van Der Vliet Oloomi, G.C. Waldrep,

Clayton Eshleman, Anne Carson, Mary Jo Bang, Yang Zi, and Elizabeth Willis.

Please visit us at: http://www.du.edu/denverquarterly/

Denver QuarterlyUniversity of Denver

Denver, CO 80208

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swp coursefaculty books&

stay intouch

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1107 Pearl St. | Boulder, Co 80302303-447-2074 | info@boulderbookstore.com

On Campus June 2-28: Tuesdays 12-1 p.m. & Fridays 4:30-6 p.m.*PDF of course packets are available online at MyNaropa

Keep up with SWP news at:jackkerouacschool.orgOr visit our Facebook page

General information303-245-4862 | swp@naropa.edu | naropa.edu/swp2130 Arapahoe Ave.Boulder, CO 80302

Registration Coordinator Leticia Benallylbenally@naropa.edu | 303-546-3511Call for information regarding the online registration process.

Naropa Coordinator of Student Accounts303-546-3554 Call for information about student payments or accounts.

For information on all degree programs, contact

Naropa Admissions OFFICE1-800-772-6951 or 303-546-3572 or admissions@naropa .eduProspective Naropa undergraduate or graduate students call this number to apply to Naropa University.

AvAilAble At boulder bookstore

Naropa University welcomes participants with disabilities. Please contact Andrea Rexilius at 303-546-5296 or arexilius@naropa.edu before May 15, 2014, to inquire about accessibility and disability accommodations needed to participate fully in this event.

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