Two Lines Launch Party: Celebrating Women in Translation
Churchill’s Office | 194 Church Street, upstairs | San Francisco, California
This event has already taken place.
This year we’re dedicating the annual launch of Two Lines to women in translation!
Join us for a poetry reading celebrating women in translation: both those being translated and those doing the hard work. Poets and translators are getting together to read their own poetry, their translations, and the great work you’ll find in Two Lines.
Co-sponsored by the Poetry Society of America.
Tickets are $10, which includes a copy of Two Lines and an open cocktail bar!
Get your tickets online or at the door. Buy tickets for Two Lines Launch
Norma Cole‘s books of poetry include Win These Posters and Other Unrelated Prizes Inside, Where Shadows Will: Selected Poems 1988 2008, Spinoza in Her Youth and Natural Light, and most recently Actualities, her collaboration with painter Marina Adams. To Be at Music: Essays & Talks made its appearance in 2010 from Omnidawn Press. Her translations from the French include Danielle Collobert’s It Then, Collobert’s Journals, Crosscut Universe: Writing on Writing from France (edited and translated by Cole), and Jean Daive’s A Woman with Several Lives and White Decimal. She lives in San Francisco.
Maxine Chernoff is a professor and Chair of the Creative Writing program at San Francisco State University and a 2013 NEA Fellow in poetry. She is the author of six books of fiction and fourteen books of poetry. Her recent books of poetry are Here (Counterpath, 2014), Without (Shearsman, 2012), and To Be Read in the Dark (Omnidawn, 2012). With Paul Hoover, she translated The Selected Poems of Friedrich Hölderlin,(Omnidawn Press, 2008), which received the 2009 Pen U.S.A. Translation Award.
Gillian Conoley is the author of seven collections of poetry, including Peace (2014), The Plot Genie (2009), Profane Halo (2005), Lovers In The Used World (2001), and Tall Stranger (1991), a finalist for the National Book Critics Circle Award. Her work has been featured in many anthologies, including American Hybrid: A Norton Anthology of New Poetry (2009), Lyric Postmodernisms: An Anthology of Contemporary Innovative Poetries (2008), and Best American Poetry (1997). Her translations of Henri Michaux, collected in Thousand Times Broken: Three Books by Henri Michaux (2014), had never been brought into English before.
Ani Gjika is an Albanian-born writer, literary translator, and author of Bread on Running Waters (2013), a finalist for the Anthony Hecht Poetry Prize and May Sarton New Hampshire Book Prize. She’s the recipient of an NEA fellowship and a Robert Pinsky Global fellowship. Her translation of Luljeta Lleshanaku’s Negative Space is due in 2018 from Bloodaxe in the UK and New Directions in the US.
Lizzie Davis is a writer, editor at Coffee House Press, and translator from Spanish and Italian to English. Her recent projects include My First Bikini by Elena Medel (Jai-Alai Books 2015) and a co-translation with Valeria Luiselli of Tell Me How It Ends: An Essay in 40 Questions (Coffee House Press 2017).
The forthcoming Two Lines 28 features a diverse blend of poetry and fiction. Featuring poetry by Lulijeta Lleshanaku (tr. Ani Gjika), Luz Pichel (tr. Neil Anderson), and Monchoachi (tr. Patricia Hartland), and fiction by Natsuko Kuroda (tr. Angus Turvill), Johanne Lykke Holm (tr. Saskia Vogel), and Anna Katharina Hahn (tr. Marshall Yarbrough), Two Lines 28 is packed with thought-provoking literature.
The Fall 2017 Two Lines 27 is brimming with gripping fiction and provocative poetry. Featuring fiction by Zsuzsa Takács (tr. by Erika Mihálycsa), Ge Yan (tr. Jeremy Tiang), and Jokha al-Harthi (tr. Marilyn Booth), and poetry by Samira Negrouche (tr. Marilyn Hacker), Friederike Mayröcker (tr. Jonathan Larson), and Min Jeong Kim (tr. Ji Yoon Lee & Jake Levine), Two Lines 27 was a celebrated issue for its cutting-edge literature from countries such as Mexico, Hungary, Oman, Bulgaria, Korea, and India.
Co-sponsored by the Poetry Society of America
This event is supported in part by grants from the San Francisco Arts Commission and San Francisco Grants for the Arts.