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Cross Worlds: Transcultural Poetics: An Anthology Paperback – July 15, 2014

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Editorial Reviews


“There are serious riches on hand in this latest marvel-filled gleaning from the Kerouac School’s indispensable yearly summertime transcultural poetic vortex. Equally attentive to the voices of those who have left us and those still around to "put fire on this crazy world," Editors Anne Waldman and Laura Wright have herein beautifully gathered a host of high-voltage talks, panels, interviews and razor-sharp asides whose collective brilliance out burns anything this side of the sun.” —Laird Hunt

“Filled with a variety of useful riches that traverse a dizzying array of languages, geographies, and political realities, Cross Worlds: Transcultural Poetics—like previous volumes Civil Disobediences and Beats at Naropa—continues to deliver the goods stored in the Archives of the Jack Kerouac School of Disembodied Poetics. We are in need, more than ever, of this kind of archival attention, as even our recent past gets consumed by the present. This ‘news that stays news’ moves from Allen Ginsberg on Aboriginal poetics to Vietnam, the Mayan classics, Puerto Rico, African America, and the need for gringos to encounter the world as seen through Arab and other eyes. Poetic thought here, the thought of poets, is provocative, critical, and necessary, a way of grasping the worlds we now live in and how they came to be.” —Ammiel Alcalay

“This wondrous, extraordinary collection reflects the facets and range of artists that interact with each other and fellow luminary Anne Waldman, evoking human interactions beyond our constructions of nations and states and prompting us to think about our connection to the planet itself and all its inhabitants. Contemplative, illuminating, unusual, and global, Cross Worlds is an excellent compilation of the confluence of global systems and renowned workers/players/ experimenters of language and culture. What’s also really wonderful in it are the many instances of these word masters in conversation with each other and the insights generated by their discourse. I appreciate what this book will continue to do for future decades, future books, future worlds.”—Tracie Morris

"This collection presents an excellent snapshot of contemporary international poetry."—Cultural Weekly

"A firm belief in poetry’s inherent transformative principle properties is pervasive throughout this collection. From continents to languages, there’s a diverse offering of perspective both historical and contemporary."—Jacket 2

About the Author

Anne Waldman, poet, professor, cultural activist, and co-founder, with Allen Ginsberg, of one of the most vital writing programs in the world—the Jack Kerouac School of Disembodied Poetics—is the author of more than 40 collections of her own poetry and the editor of numerous anthologies including Nice to See You (Homage to Ted Berrigan), The Beat Book, and Civil Disobediences: Poetics and Politics in Action. She is the winner of the Shelley Memorial Award and the USA PEN Center Award for Poetry 2012 for her monumental feminist epic The Iovis Trilogy: Colors in the Mechanism of Concealment. She received a Guggenheim Fellowship 2013-14 and is a Chancellor of the Academy of American Poets.

Laura E. Wright is a poet, translator, and librarian; she has also worked as a classical musician and a volunteer firefighter/EMT. She has published various chapbooks and one full-length collection of poems, Part of the Design (Meeting Eyes Bindery, 2005). With Anne Waldman, she co-edited Beats at Naropa (Coffee House Press, 2009), a collection of talks given at Naropa University. Her translation (with Anselm Hollo) of Henri Michaux's La vie dans les plis (Life in the Folds) is in search of a home. From 1999-2006 she curated/co-curated (with Mark DuCharme and then Daron Mueller) the Left Hand Reading Series in Boulder. She was a co-editor, from 2001-2005, of Potato Clock Editions, the publishing arm of the School of Continuation. She also manages LitCal, a listserve/group that was started in 2000 by Kass Fleisher announcing literary events in the Front Range area.

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More About the Author

Originally from England, Daniel Staniforth is a writer, composer, musician, and teacher now residing in Lafayette, CO. He has served for six years as a part-time English faculty member of the Metropolitan State College of Denver. Daniel earned a Master's degree in Literature from Miami University (of Ohio) and writes poetry, fiction and theoretical work. His first full length book is Weaver in the Sluices: Selected Poems. Poet, Will Alexander, describes it as "an intermixing of zones where the light of the waking body rises and transmixes its power with falling uranian whispers. These poems exist at the cusp where both realities overspill and condense, making fleeting forays into the unsayable." This was followed by a book of short stories called Diddle, of which Brian Evenson has said - "Diddle is packed with stories that fully articulate their premise and characters, coil like a spring, and then come to fruition when you least expect it. They have a genuine and original rhythm, one that will make you think differently about what fiction can do." Most recently he has edited and compiled an anthology of Basil King's work called Learning to Draw/A History and an anthology of Will Alexander's poetry called Kaleidoscopic Omniscience. His new book, The Groundlings of Divine Will, has been described as "a controversial, self-reflexive, ironic and humorous response to the way that Shakespeare is so often taught in contemporary academia." Some other recent publications have featured in journals such as Rogue Poetry Review, The Houston Literary Review, Bombay Gin, Monkey Puzzle, Trickhouse, and InStereo Press. As a multi-instrumentalist and composer, he writes, records, and produces alternative, classical, Folk, and experimental music (including releases by Luna Trick, Alchymical Muse, Daniel Staniforth and Rebsie Fairholm). He composed a music score for a performance of Under Milk Wood at the Cheltenham Playhouse in the UK and released a music CD version of Margaret Randall's RUINS (with Rebsie Fairholm). For more information, visit

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