25th May, 19:00–21:00. 11 Bedford Square, London, WC1B 3RF.
Royal Holloway Poetics Research Centre and Kent Centre for Modern Poetry present readings by:
Andrea Brady, Robert Hampson, Sophie Seita
Andrea Brady’s books of poetry include Vacation of a Lifetime (Salt, 2001), Wildfire: A Verse Essay on Obscurity and Illumination (Krupskaya, 2010), Mutability: scripts for infancy (Seagull, 2012), Cut from the Rushes (Reality Street, 2013), Dompteuse (Bookthug, 2014) and (Crater, 2016). She is Professor of Poetry at Queen Mary University of London, where she runs the Centre for Poetry and curates the Globe Road Poetry festival. Andrea is director of the Archive of the Now (www.archiveofthenow.org), the UK’s largest digital archive of performances by experimental poets. With Keston Sutherland she is co-publisher of Barque Press (www.barquepress.com)
Robert Hampson has had a long-term involvement with contempory innovative poetry as editor, critic and practitioner. He co-edited the magazine Alembic during the 1970s, and he and Peter Barry co-edited the pioneering collection of essays The New British poetries: The scope of the posible (Manchester University press, 1993). He co-edited Frank O’Hara Now (Liverpool University Press, 2010) with Will Montgomery and Clasp: late modernist poetry in London in the 1970s (Shearsman, 2016) with Ken Edwards. His own most recent poetry publications include Assembled Fugitives: Selected Poems 1973-1998 (Stride, 2000), Seaport (Shearsman, 2008), an explanation of colours (Veer, 2010), and sonnets 4 sophie (pushtika, 2015). Reworked Disasters (Knivesforksand spoons, 2013) was long-listed for the Forward Prize. He collaborated (with Robert Sheppard) on Liverpool (hugs &) kisses (2015).
Sophie Seita works with language on the page, in performance, and in translation. She has presented her work at the Serpentine Gallery (London), La MaMa Galleria (NYC), Company Gallery (NYC), SoundEye (Cork, Ireland), Neue Töne Festival (Stuttgart, Germany), Goethe-Institut New York, and elsewhere. Her publications include Les Bijoux Indiscrets, or, Paper Tigers (Gauss PDF, 2017), Meat (Little Red Leaves, 2015), Fantasias in Counting(BlazeVOX, 2014), 12 Steps (Wide Range, 2012), and i mean i dislike that fate that i was made to where, a translation of the German poet Uljana Wolf (Wonder, 2015). The recipient of various awards and fellowships for her creative and critical work, she also received a PEN/Heim Grant (2015) for her forthcoming translation of Wolf’s Subsisters: Selected Poems (Belladonna*, 2017). She is a Junior Research Fellow at Queens’ College, Cambridge, where she’s currently editing a facsimile reprint of The Blind Man (Ugly Duckling Presse, 2017) and finishing her first monograph on avant-garde little magazine communities.