Friday, March 30, 2018

From the White of the Page by Jennifer K Dick at Poetry in Expanded Translation III 4-6 April 2018

VERY excited to be heading off towards the Poetry in Explanded Translation III: Poetry and Sound conference in Bangor, Wales, to give this talk. Please find the full schedule and email links to ALL of the talks and readings below, including thrilling events with Erin Mouré, Caroline Bergvall and Lisa Samuels among others.

 My abstract for the talk I will give on Friday morning, the 6th of April in the 9am session:

Jennifer K Dick
Université de Haute Alsace, Mulhouse, France
Labo de recherche : ILLE

This talk will take as its focus issue of the conference, the question of whether the relationship between poet and translator can (or must in the case of sound and certain visual poetries) be compared with that of composer and performer. The reading of the page as score, the use by authors of visual signs, erasures, font, invented languages, even poster-sized pages and typographical gestures as graphic representation of breath and sound, semantic elements that are often extra-lingual, are fundamental components of what and more specifically how these poems are meant to be heard/read/seen/experienced. (Parallels may be drawn between these pages and contemporary music scores of Boulez, Cage and others.) To accentuate the focus on sound as poetic meaning, I have selected primarily French author’s works as my focus for this talk for an anglophone audience. I will discuss sample cases of page-voice translation from the “scored” pages of Julien Blaine, Patrick Dubost and Bernard Heidesieck as well as the visual-poetry to sound-poetry pages of Jacques Sivan and Vannina Maestri. Discussions of these works will be rooted in theoretical and practical references to Mallarmé, the Zaum poetries of Russian Klebnikov and some Dadaist and Italian Futurist’s works. What will be interrogated is the question of any oral “reading” as translation, not only by author but also as musical “interpretation” (and might one say reinterpretation, or variation) by other readers based on each individual’s methods of seeing and hearing these pages.

Full Conference Schedule and links: 

Poetry in Expanded Translation III

Poetry and Sound in Expanded Translation

April 4th to 6th 2018
Bangor University


About the Conference

This international and interdisciplinary conference will consider the role of sound in poetry translation, and in related areas of performance and creative practice. How helpful is a musical vocabulary in discussion of the sound of a poem in translation? Conversely, what is meant by describing music as a language? Can the relationship between poet and translator be compared with that of composer and performer? Such parallels will be used to explore poetry in bilingual, multilingual and cross-artform contexts. Examining new and emerging interfaces between poetry, sound and translation, this conference will bring together poets, musicians, critics and translators.


Keynote speakers

Caroline Bergvall, artist, writer and performer
Lawrence Venuti, translation theorist, Professor at Temple University

Keynote Performance

Andrew Lewis, composer, Professor at Bangor University

The conference will begin with dinner, readings and performances on the evening of April 4th. There will be two full days of papers on the 5th and 6th, with parallel sessions, and another reading on the evening of the 5th. Panels will finish at 17.30 on April 6th

Wednesday 4th April
4.00 Registration in School of Music

5.00 Welcome reception in School of Music foyer.

Poetry and music in Powis Hall
Keynote performance:
Andrew Lewis, Bangor University

Poetry readings:
Erín Moure
Philip Terry
Lee Ann Brown

8.00 Dinner in Matthias Hall

Thursday 5th April
8.45 Coffee

Rhythms and echoes:
Jessica Stephens, Paris-3 Sorbonne Nouvelle
Sound and rhythm in translation in the poetry of Alice Oswald
Sam Trainor, Université de Lille
From transparency to trans-resonance: translation as contrapuntal
Zoë Skoulding
Echo in the work of Vahni Capildeo

Ollie Evans
Can homophony practise philology?
Simon Smith, University of Kent
What’s the frequency Gaius: The Zukofskys’
Catullus and the failure of translation
Andres Andwandter
Translation as reconstituting the foundations of the state

10.30 Coffee

PONTIO Cemlyn Jones Lecture Room 2
10.45 Keynote:
Lawrence Venuti, Temple University
Translation Proverbs: The Instrumentalism of Conventional Wisdom

11.45 Pause

Erín Moure
Sound in the mouth and Wilson Bueno’s 
Paraguayan Sea
Dan Eltringham and Leire Barrera Medrano
Girasol Press: sonidos sin fronteras / sounds without borders

Kristina Hagstrom Stahl, Gothenburg University
Acts of translation in Charlotte Delbo's theatrical poetics
Julia Lewis, Cardiff University
What is lost when words are wasted between medicine and poetry?

1.0      Lunch and coffee


Musics 1:
Meirion Jordan
Dán, Amrhain, Piob: Translating lyric to music in Gaelic traditional practice
Jeff Hilson, Roehampton University
Music and translation
Alys Conran, Bangor University
From flamenco to
cerdd dant, Lorca to penillion telyn: multilingual remixes of Welsh and Spanish music poems

Lily Robert-Foley, Université de Montpellier
Do extra-terrestrials have rhetoric? A fictocritical reflection on translating a language that doesn't exist (yet)
Lisa Samuels
Tomorrowland (talk and film)

3.30 Tea

Sound in communication:
Khashayar Naderehvandi, University of Gothenburg
Tacit intimacies
Sophie Collins
Intimacy and fidelity: relationship models and the sounds of friendship in translation
Chris McCabe and Vahni Capildeo
Blackbox Testing

Performance and collaboration:
Helen Tookey and Martin Heslop
Collaborative poetry and sound work in process
Ghazal Mosadeq and Katherine E. Bash
Creative Translation of Talismanic Texts (talk and performance)

5.15 Drinks Reception

6.00 Poetry performance in Pontio Arts Centre

8.00 Dinner in Cledwyn Terrace Room 3

Friday 6th April
8.45 Coffee

Agata Holobut, Jagiellonian University, Krakow
Painting into sound: phonosymbolism in ekphrasis
Piotr Gwiazda, University of Pittsburgh
Dear Beloved Humans: Listening to Grzegorz Wróblewski
Jennifer K. Dick, Université de Haute Alsace
From the white of the page

Musics 2:
Nisha Ramayya
Sound, subjectivity, ritual and community
James Wilkes
Mishearing and slippage in writing towards Josquin des Prez
Richard Hoadley

10.30 Coffee

PONTIO Cemelyn Jones Lecture Room 2
10.45 Keynote:
Caroline Bergvall, poet
Monolingualism is dangerous

11.45 Pause

Silence and listening:
Mounir Ben Zid, Sultan Qaboos University, Oman
Rethinking the Perception of Personal Silence in Poetry and Translation
Vincent Broqua
Silent translation?

Mary Jacob, Aberystwyth University, and Rhys Trimble
Rhizomatic meaning generation across languages and non-languages

1.00 Lunch

Peter Hughes
On re-creational versions of Giacomo Leopardi’s 
Jeremy Over
Sounds Funny: mistranslation and misunderstanding in the poetry of Ron Padgett and Kenneth Koch
Lee Ann Brown and Tony Torn
Willful mistranslations

Katharina Kalinowski, Universities of Kent and Cologne
Sounding Places: Ec(h)otranslations
Steven Hitchins
Translating the urban environment in the South Wales Valleys
Rowan Evans
Ancient Language, Landscape and Hybridity

3.30 Tea

3.45 Panel discussion with Nia Davies, James Byrne and Sophie Collins
Publishing and Expanded Translation

4.30 Plenary

5.15 Close

6.00 Launch of Robert Sheppard's Twitters for a Lark

7.30 Dinner at a local restaurant

Monday, March 12, 2018

5 Poems by Jennifer K Dick in Women Poetry Migration a Theenk Books anthology

Now out, containing 5 of my poems from my forthcoming Eyewear, London, UK book That Which I Touch Has No Name (2019) is the anthology Women: Poetry: Migration (Theenk Books, 2018). Each poetry selection is followed by a mini essay by the author, such as one found in the great experimental poetry anthology a few years back edited by Etter, one of the poets in this collection which is here edited and prefaced by Jane Joritz-Nakagawa.

The book "women: poetry: migration [an anthology]", 326 pp., ISBN 978-0-9883891-6-8, $25.00 USD, is edited by Jane Joritz-Nakagawa, featuring poetry and accompanying essays by 50 women living in a country other than that of their birth, and it is now on sale.  

I am thrilled to find my work next to poets I have LONG admired, such as Rosmarie Waldrop, Norma Cole or N Nourbese Philip as well as friends whose work I continue to admire greatly, such as Donna Stonecipher, Jody Pou, Barbara Beck, Adeena Karasick, Yuko Otamo and MANY others I will hope you will go and discover for yourselves!

Visit the publisher's website to order, theenk Books:  For a list of the contributors, please visit the website.  Inquiries: theenkbooks(at)
What some readers and Critics have had to say about this anthology:

"Exile (to echo Edmond Jabès) is a fundamental condition of poetry.These 50 poets make diaspora home ground. They are the lightning rods of a non-national poetry of “between” that pushes against nativism through sheer aesthetic exuberance and necessity of innovation." -- CHARLES BERNSTEIN

"Women : Poetry : Migration is a superb, refreshing anthology.  As nationalism and the rigidity of territorial and linguistic boundaries, under challenge, erode, this anthology of poetry by women provides a wide-ranging and innovative look at this migratory time in the writing of poetry.  Migratory in terms of place and the changing nature of location, undergoing challenge and redefinition in terms of gender identity, and in transit as a polylingual consciousness and multilingual ways of writing become more and more evident.  My congratulations to the editor for her vision, imagination, and persistence, and to the women who have contributed such remarkable writing to the anthology." --HANK LAZER

"Jane Joritz-Nakagawa has undertaken a remarkable editorial task in bringing together avant-garde women poets who are also migrants.  If, as Susan Suleiman wrote, the avant-garde woman poet is doubly marginalised, then these poets are in a triple lock of marginalisation.  Yet, as the anthology demonstrates, this can be a source of strength and transformation, which gives them a centrality, not only in their own lives, but in the cultural development of their adopted country.  Indeed, some of these poets have played a crucial role in shaking up mainstream poetics."--FRANCE PRESLEY

"“on google earth I write down my name” writes Ania Walwicz in this ecstatic anthology, women: poetry: migration. With sharp eye and ear, Jane Joritz-Nakagawa has gathered arresting, often experimental, poetry by women living outside the lands of their birth. These are poems where the “trans” – translation; transculture; transformation –inhabits the unsettling language of identity and location, with multiplicity, cosmopolitanism and the “push and pull” (Bella Li) of writing desire. Every page offers shifts of imagery or perspective as witness to embodiment, alterity, and hybridities of language. In the plural worlds of the poets, we hear how border crossing constructs a life (Fawzia Afzal-Khan) and “utopianism” always “goes wrong” (Donna Stonecipher)." --ANNE ELVEY

“Where am I going? I am getting there.”  Amanda Ngoho Reavey’s words might serve as a motto for this wide-ranging, transnational anthology, which gathers 50 women poets who live in countries other than the ones in which they were born.  This premise is the spark for an explosion of aesthetic experimentation that both maps and crosses boundaries of gender and nation.  From the shuttling between Japan and Canada, Vietnam and Australia, or Zimbabwe and the United States, the authors gathered here elucidate a poetics formed in process."--TIMOTHY YU

"My response to this collection is subjective as I was once someone who lived and wrote for a while outside of my native land. In women: poetry: migration, I could relive the excitement of pleasurable dislocation I felt some of the time I lived abroad. For instance, I liked experimenting or “deconsecrating” one language with another language to “make it clearer” (Jody Pou) and discovering through writing “what I don’t know” (Tsitsi Jaji). That being said, this collection is open to any reader who is engaged by thoughtful, sensual, humorous and political ideas.  In her essay in this anthology, Rosemarie Waldrop concludes, “If the poem works…it will set off vibrations in the reader, an experience with language — with the way it defines us as human beings.” I certainly felt the reverberation of language(s) as I read the poems and essays in this collection. It’s up to us as readers what we do next." --DEBORAH RICHARDS

"This anthology edited by Jane Joritz-Nakagawa is more than a poetic fact. It is a political fact because it presents to the public poets displaced from their countries and in a real conflict with theircultures. Perhaps this is the definition of poetry: art in conflict with language and origin. Jane Joritz-Nakagawa offers to the reader double exiles: the exile of the tongue and the full "exile" of the female voice in patriarchal societies. Joritz-Nakagawa, in the words of the Brazilian modernist poet Oswald de Andrade, reinstitutes the "matriarchy of Pindorama." It is a work of breadth and rigor, which deserves all attention and applause. As contributor Safaa Fathy says: “I write about what I lost.” Migrating is at the center of being a poet; the book also answers the question of what poetry is. And maybe this is the gain that Joritz-Nakagawa’s anthology brings."--REGIS BONVICINO