Ivy Writers – Martin Richet, Mina Pam Dick and Oana Avasilichioaei
Ivy Writers reading Tuesday 18 September, 19h30
17 rue Tiquetonne
Métro Etienne Marcel/ RER Les Halles
Start off the 2012-2013 season with Ivy Writers Paris on the 18th of September with visiting Canadian and American authors Oana Avasilichioaei and Mina Pam Dick reading with French poet and translator Martin Richet! Mina Pam and Oana will also perform together “Transpose – an individual and co-reading by Mina Pam Dick and Oana Avasilichioaei”
Martin Richet est l’auteur de L’Autobiographie de Gertrude Stein (Eric Pesty Editeur, 2011) et Bureau vertical / Onze pour Table,(Cahiers de la Seine, 2006). Traducteur de métier, il a récemment traduitPied bot de Charles Bernstein (Joca Seria, 2012), Le cycle des tilleuls d’Etel Adnan (Al Manar, 2012), L’ouverture du champ de Robert Duncan (José Corti, fin 2012) et Les Sonnets de Ted Berrigan (Joca Seria, fin 2012). Il prépare actuellement une anthologie des poèmes de Larry Eigner.
Oana Avasilichioaei est l’auteure de: We, Beasts, (Wolsak & Wynn, 2012), The Islands (translations of Louise Cotnoir) (Wolsak & Wynn, 2011), Expeditions of a Chimaera (co-written with Erin Moure),feria: a poempark (Wolsak & Wynn, 2008), Occupational Sickness(translations of Romanian poet Nichita Stanescu) (BuschekBooks, 2006) etAbandon (Wolsak and Wynn, 2005) Some of the strands in Oana Avasilichioaei’s work traverse geography and public space (feria: a poempark, 2008), textual architecture, orality and multilingualism (We, Beasts, 2012), translation and collaborative performance (Expeditions of a Chimæra, co-written with Erín Moure, 2009). Living in Montreal, Canada, she has performed her work in Canada, USA, Mexico and Europe, and has translated poetry from the Romanian of Nichita Stănescu (Occupational Sickness, 2006) and from the Quebecois French of Louise Cotnoir (The Islands, 2011). Recent projects include an epistolary poetic project, ff or letters to a fellow fluency, co-written with felix p.d., and transforming text into performative sound work:http://writing.upenn.edu/pennsound/x/Avasilichioaei.php. Also read her comments, extracts, reviews at:http://jacket2.org/commentary/oana-avasilichioaei For a full bio see:http://poets.ca/members_data/Oana%20Avasilichioaei
Mina Pam Dick (aka Traver Pam Dick, Gregoire Pam Dick et al.) is a writer, translator, artist and philosopher living in New York City. Her prose poetry has appeared in BOMB, The Brooklyn Rail, Aufgabe,Everyday Genius, The Recluse and Fence Magazine, and is forthcoming inMrs. Maybe; her philosophical work has appeared in a collection published by the International Wittgenstein Symposium. Her translations, mistranslations and co-translations can be found in Telephone Journal andDandelion. Dick’s first book, Delinquent, was published by Futurepoem Books in 2009. Currently, Dick is working on transgenre books which engage with Hölderlin, Trakl, Lenz, Büchner and Robert Walser. They do philosophy as lit, and explore fluid identity, tonal alternation’s music, the poetics of sex with sibling books. See:http://eoagh.com/?p=843 and http://www.everyday-genius.com/2010/07/hildebrand-pam-dick.html
Transpose – exchange places; shift contexts; play music in a different key; change forms; pose difficulties; raise questions; assume positions of the mindbody; mistake identities.
Once upon a time in the land of translit (prose poetry as philosophy, poetry as sound performance, textual transience of the wandering I) there lived Avasilichioaei and Dick. Dick transversed mounts of subjective texts (truth as first-personal, world an idiocosm) dug deep into linguistic contours, risking marginals. Germaning up the Trakls, Kafkas, Hölderlins, Wittgensteins, Kierkegaards (incestuous poetics as making out or off with kindred texts), Dick became subject to Mina Pam Dick, Traver Pam Dick, Hildebrand Pam Dick and so on (how the act of writing fictionalizes the author, who moves in and out of protagonist/narrator). Avasilichioaei tried various positions (mapping out the page’s architecture, in the porous boundary between page and body, private and public), positing a translation or two, an invented writer or two (writing with, alongside, in response to, against the signature of anothers), landscaping sound and sounding into the pagescape (transcription in the foliage of veins, the throat’s technology; body sounding out its sediments, its vocal multiple). One day, Avasilichioaei and Dick, qua Odile A. and Felix P. D., began writing across the letters of Ingeborg Bachman (language doing language, trans-sex through text).