Love Belongs to Those Who Do the Feeling: New & Selected Poems (1966-2006)

Lost & Found: The CUNY Poetics Document Initiative publishes unexpected, genre-bending works by important 20th century writers. Unearthed from personal and institutional archives in the United States and abroad, these materials are edited by doctoral students at the Graduate Center, CUNY.

LOST & FOUND SERIES VI presents work by Gregory Corso, Judy Grahn, Bobbie Louise Hawkins, and Ted Joans. While the styles and experiences of these writers are radically different, each project presented here enacts a commitment to the exploration of knowledge unbound by disciplinary constraints.

Gregory Corso: Naropa Lectures 1981, introduced by Anne Waldman, includes two transcribed and annotated lectures that illustrate Corso's vast storehouse of cultural knowledge, animating his poetics both on the page and in the classroom.

Bobbie Louise Hawkins: The Sounding Word presents two very different lectures from the Jack Kerouac School of Disembodied Poetics, and a new interview with the author. Whether looking at iconic French novelist Colette or examining the poetics of prose, The Sounding Word describes an unflinching empirical approach to knowledge and its transmission through direct experience.

Judy Grahn: Selections from Blood, Bread, and Roses explores mythic, societal, and personal relationships to menstruation throughout time, and is accompanied by a recent interview with the legendary poet, teacher, scholar, and activist.

Ted Joans: Poet Painter / Former Villager Now / World Traveller, introduced by Diane di Prima, presents an array of previously unpublished texts on jazz, surrealism, travel guides to Africa and Paris, his inimitable Negative Cowboy, and photographs from his life and times. As writers, each considers and refigures the malleable conditions of historical truth and the pursuit of knowledge as part of their creative process. And as readers, we are encouraged to do the same.

SERIES VI includes:

Gregory Corso: Naropa Lectures 1981 (Part I & II) (ed. William Camponovo, Mary Catherine Kinniburgh, Öykü Tekten)

Bobbie Louise Hawkins: The Sounding Word (ed. Iris Cushing)

Judy Grahn: Selections from Blood, Bread, and Roses (ed. Iemanjá Brown & Iris Cushing)

Ted Joans: Poet Painter / Former Villager Now / World Traveller (Part I & II) (ed. Wendy Tronrud & Ammiel Alcalay)

An incisive poetic sequence that tracks the relationship between migration and complex traumas in this unsparing critique of the unjust conditions that brought us the global pandemic.

Ante body is a poetics of [un]rest. A project that started as an exploration of how the psychological impacts of migration and complex traumas manifest as autoimmune disease and grew into a critique of the ongoing unjust conditions that brought on the global pandemic. Continuing her use of the invented poetic form, the Arabic, and integrating Fred Moten's concept of "the ANTE," Helal creates an elliptical reading experience in which content and form interrogate the inner workings of patriarchy, capitalism, nationalism, and globalism.

Marwa Helal is the author of Ante body (Nightboat Books, 2022), Invasive species (Nightboat Books, 2019) and the chapbook I AM MADE TO LEAVE I AM MADE TO RETURN (No, Dear, 2017).

An Expert Array of Talks & Essays by One of Our Greatest Living Poets.

One of our greatest living poets, Alice Notley, the author of more than 40 books of poetry, has delivered an expert array of talks and essays over the last three decades.

The publication offers a significant contribution to literature, reimagining the possibilities of writing in our time and the complicated business of how and why writers devote their lives to their craft. Whether she is writing about other poets—Ed Dorn, Allen Ginsberg, Homer, bpNichol, Douglas Oliver, or William Carlos Williams—noir fiction, the First Gulf War, dreams and what they're for, or giving us insight into her own work, Notley's observations are original, sobering, and always memorable. This collection often eschews the typical style of essay or lecture, resisting any categorization, and is consciously disobedient to academic structures in form. The results are thrilling new modes of thinking that may change the ways we read and write.

Candice Wuehle’s Death Industrial Complex is a meditation on the cultural obsession with the bodies of dead women and an occult invocation of the artist Francesca Woodman. Like Woodman’s photographs with their long exposures and blurred lenses, this book is haunted and haunting, hazy yet devastatingly precise. These are poems as possessions, gothic ekphrases, dialogues with the dead, biography and anti-biography, a stunning act of “cryptobeauty.”

Poet, philosopher, speculative architect and transdisciplinary artist, Madeline Gins is well known for her collaborations with her husband, the artist Arakawa, on the experimental architectural project Reversible Destiny, in which they sought to arrest mortality by transforming the built environment. Yet, her own writings — in the form of poetry, essays, experimental prose and philosophical inquiries — represent her most visionary and transformative work. Like Gertrude Stein before her, Gins transfigures grammar and liberates words. Like her contemporaries in conceptual art, her writing is attuned to the energized, collaborative space between reader and page.

The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader is a revelatory anthology, edited and with an introduction by the writer and critic Lucy Ives. It brings never-before-published poems and essays together with a complete facsimile reproduction of Gins' 1969 masterpiece, WORD RAIN (or A Discursive Introduction to the Intimate Philosophical Investigations of G, R, E, T, A, G, A, R, B, O, It Says), along with substantial excerpts from her two later books What the President Will Say and Do!! (1984) and Helen Keller or Arakawa (1994). Long out of print or unpublished, Gins' poems and prose form a powerful corpus of experimental literature, one which is sure to upend existing narratives of American poetics at the close of the 20th century.

Edited by Lucy Ives. 

A fragmented reflection on movement, absence, and the unraveling of identity within the shifting landscapes of departure and return. Tarren Johnson explores the tension between private longing and public expression, where moments of love and vulnerability emerge in transient encounters.

Tarren Johnson grew up in North County San Diego, where she began dancing and writings a child. She continued her studies at CalArts in Los Angeles before moving to Europe, where she built a decade-long career in the performing arts. Her debut book of poetry, We Don’t Live Here Anymore, also serves as the foundation for the stage work of the same title.