Honored to receive Clemson University’s award for faculty excellence, The Dr. Ted. G. Westmoreland Award, which is “presented annually to honor a distinguished faculty member who has made exemplary contributions to undergraduate student success”!
New poems and a review in the recent edition of Literary Matters.
Some Flowers, my collection of poems, will be coming out from MadHat Press early next year. A few new poems from the book are appearing in The Hopkins Review this spring.
For The Atlantic, I wrote about the recent Nobel Prize winner, poet Louise Glück.
“The American Poetic Subprime: Contemporary Poetry, Race, and Genre,” an article on contemporary house poems by Nikki Wallschlaeger, Jennifer S. Cheng, and Tracy K. Smith, is out in the latest issue of New Literary History.
In September, I was in residence at the James Merrill House in Stonington, CT, working on a new book about 20th/21st-century house poems. Here’s a recording of my talk, and an interview about it, on the topic of houses and the poetic imagination.
Stephanie Burt reviews Forms of a World for Critical Inquiry:
Hunter shines whenever…he links a poet’s particular style to a particular evil of globalization, a particular sin of capital or nation.
In Contemporary Literature, Louise McCune reviews Forms of a World, writing that
[the] synthesis between globalization studies and poetry criticism proves mutually beneficial: as Forms of a World makes clear, an understanding of global capitalism makes poetic innovations of the late twentieth and twenty-first centuries newly legible.
A poem I wrote, “After Canto XIII of the Inferno,” is in the Atlantic.
In ALH, Walter Kalaidjian reviews Forms of a World as
a major achievement in contemporary criticism: one that advances beyond the national boundaries of American literature to address just how far twenty-first century poetry in the US matters to the planet and its global challenges to come.
In ASAP/J, John Steen writes:
[Forms of a World] serves as a model for what should become, for conscientious readers of contemporary poetry, a collective undertaking to remake the field.
For American Literary History, I wrote about three new books of poetry criticism by Margaret Ronda, Jasper Bernes, and Heather Milne.
Here’s my review of Jacob Edmond’s Make It the Same: Poetry in the Age of Global Media for the Los Angeles Review of Books.
I wrote about (not knowing much about) dance for Modernism/modernity Print+.
My piece on Stanley Cavell, “No Cure for That,” appeared in ASAP/Journal.
I wrote in memory of Donald Hall’s poetry for The Atlantic.
Interviewed Thenjiwe Nkosi on her new paintings for ASAP/Journal.
Here’s a piece on Hamlet and sanctuary cities I wrote for The Atlantic.
My first piece for Modernism/modernity’s Process blog, “Process against Progress,” is here.
My work is featured on November’s Meet a Tiger at Clemson.
Reading poems at the Storymoja Festival in Nairobi on Sunday.
I’ve written about student protesters as the new intellectuals for The Atlantic.
Atopias: Manifesto for a Radical Existentialism, by Frédéric Neyrat and co-translated by me and Lindsay Turner, is out in October from Fordham University Press.
Honored to receive the 2017 CAAH Faculty of the Year Award for Excellence in Teaching.
Wrote a piece on poetry after (during) Trump with my friend Garry Bertholf for Viewpoint.
- In French translation by Marie de Quatrebarbes in Diacritik.
My article on the contemporary ode, “Planetary Dejection: An Ode to the Commons,” is in the latest issue of symplokē, a special issue on “Materialisms.”
Quoted in the The Atlantic on John Clare, poetics, and dispossession.
I’ve introduced a forum on “global poetics” with the poets Manal Al-Sheikh, Omar Berrada, Whitney DeVos, Julie Moi Aussi, Katie Peterson, NourbeSe Philip, Marie de Quatrebarbes, Emma Ramadan, Keston Sutherland, and Timothy Yu.
Honored to have received the 2017 South Carolina Arts Commission Artist Fellowship in Poetry.
“Poetry After Language” on ARCADE.
“Speculations: New Irish Poetry,” a weekly commentary on Jacket2.
My plenary talk on lyric poetry and precarity at Yale (April 2014).