Mike Amnasan is the author of the semi-autobiographical fiction, I Can’t Distinguish Opposites, Liar, and Beyond the Safety of Dreams, and the play, Reverie. He stopped writing fiction to get a PhD in philosophy, an experience which taught him to appreciate literary fiction more. He lives with his wife and son in New York City and is finishing up a novel, The Loneliness of Talking.
Dodie Bellamy writes genre-bending works that focus on sexuality, politics, and narrative experimentation, challenging the distinctions between fiction, essay, and poetry. Her most recent collection is When the Sick Rule the World, from Semiotext(e). Her reflections on the Occupy Oakland movement, “The Beating of Our Hearts,” was published as a chapbook in conjunction with the 2014 Whitney Biennial. With Kevin Killian she edited for Nightboat Books Writers Who Love Too Much: New Narrative 1977-1997 (2017).
Nayland Blake is an internationally acclaimed interdisciplinary artist and educator whose work is included in the collections of the Brooklyn Museum of Art, the Des Moines Art Center, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, and the University Art Museum, Berkeley. His writing has been published in Artforum, Interview, Out, Outlook, and numerous exhibition catalogues. He has been on the faculty of the Milton Avery Graduate School of the Arts and has taught at the San Francisco Art Institute, the California Institute of the Arts, the University of California, Berkeley, Parsons School for Design, New York University, the School of Visual Arts, and Harvard University Department of Visual and Environmental Studies. He is represented by Matthew Marks Gallery in New York and Anglim Gilbert Gallery in San Francisco.
Bruce Boone’s published work includes– Karate Flower (1973), My Walk With Bob (1979 & reissued in 2006), Century of Clouds (1980 & reissued in 2009), and with Robert Glück, La Fontaine (1981), The Truth About Ted(1984), and a variety of essays in small press journals. In addition, Boone has translated the work of Georges Bataille, including Guilty (1988) and On Nietzsche (1994), several works by Pascal Quignard, including On Wooden Tablets: Apronenia Avitia (1984) and Albucius (1992) and Jean Francois Lyotard’s Pacific Wall (1989). He lives in San Francisco.
Dennis Cooper is the author of nine novels including the five-volume George Miles Cycle (1989 – 2000, Grove Press), and The Marbled Swarm (2012, Harper Perennial). His most recent books are three volumes of fiction composed of animated GIFs, including the GIF novels Zac’s Freight Elevator (2016) and Zac’s Haunted House (2015), and the short GIF works collection Zac’s Control Panel (2015), all from Kiddiepunk Press. With the visual artist Zac Farley, he has made two feature films, Like Cattle Towards Glow (2015) and Permanent Green Light (forthcoming in 2018). Since 2004, he has written the texts for the works of the French theater director Gisele Vienne. He lives in Paris and Los Angeles.
Gabrielle Daniels was born in New Orleans, but spent most of her life in the San Francisco Bay Area. After spending several years in the Midwest, she returned home to California last fall. She has been published, variously, in The Kenyon Review (fiction), The San Francisco Chronicle, in Sable, and in the American Book Review (as reviewer). Her poetry appeared recently in PoetsReadingTheNews.com. She has been anthologized in This Bridge Called My Back, edited by Cherie Moraga and Gloria Anzaldua. She has been a writer-in-residence at Hedgebrook Farm, at Yaddo, at the Headlands Center for the Arts. In 2004, she was a recipient of a Ludwig Vogelstein Foundation Grant, and in 2005-2006, was Carl Djerassi Fiction Fellow at the University of Wisconsin. She was graduated from the University of California, Irvine with an MFA in English in 1999.
Renee Gladman is a writer and artist preoccupied with lines, crossings, thresholds, geographies, and syntaxes as they play out in the interstices of poetry and prose. She is the author of ten published works, including a cycle of novels about the city-state Ravicka and its inhabitants, the Ravickians; Calamities, a collection of linked essays on writing and experience, which won the 2017 Firecracker Award in Nonfiction; and a monograph of ink drawings, Prose Architectures. She lives in New England with poet-ceremonialist Danielle Vogel.
Robert Glück is the author of eleven books, including two novels, Margery Kempe and Jack the Modernist, a collection of stories, Denny Smith, prose poems with Kathleen Fraser, In Commemoration of the Visit, and, most recently, Communal Nude: Collected Essays. Next year, The New York Review of Books will be republishing Margery Kempe as an NYRB Classic. His work is included in anthologies such as The Faber Book of Gay Short Fiction, The Norton Anthology of World Literature, and Lust for Life: On the Writings of Kathy Acker. He prefaced artist Frank Moore’s Between Life and Death, and edited, with Camille Roy, Mary Berger and Gail Scott, the anthology Biting The Error: Writers Explore Narrative. Glück was co-director of Small Press Traffic Literary Center, associate editor at Lapis Press, and director of The Poetry Center at San Francisco State, where he is an emeritus professor. He lives in Malmö, Sweden, and “high on a hill” in San Francisco.
Rob Halpern lives between San Francisco and Ypsilanti, Michigan, where he teaches at Eastern Michigan University and Huron Valley Women’s Prison. Common Place is his most recent volume of poetry (Ugly Duckling 2015). Other titles include Music for Porn, Rumored Place, and Disaster Suites, which was recently translated into Dutch as part of the Contemporary Poetry in Translation series published by the Netherlands’ literary arts foundation, Perdu. Together with Taylor Brady, he also co-authored Snow Sensitive Skin. [ ——— ] Placeholder, a book-length selection of his poetry and prose drawn from across all of these books, was just published in the UK (Enitharmon 2015). Among other projects, Halpern is currently translating Georges Perec’s early essays on aesthetics and politics, while co-editing a volume of essays on New Narrative, together with Robin Tremblay-McGaw, to be published soon by ON Contemporary Practice.
Carla Harryman has authored nineteen books of experimental poetry, prose, essays, and plays. Her work begins in a radical exploration of the sentence and its non/narrative performative capacities, developing in the context of the West Coast Language Writing scene of the 1970s and 1980s as well as in text-based performance and interdisciplinary collaboration. Much of her recent work has focused on zones of negativity and hope in a durational project titled “Letters Not about Hope” and on writing informed by improvisation and sampling in music and time-based art. Recent works include Gardener of Stars, an Opera, an exploration of “the paradise and wastelands of utopian desire,” presented in Chicago, San Francisco, and Los Angeles as a performance for microelectronics, piano, and speaking and singing voices. Sue in Berlin, a collection of Poets Theater plays and performance texts written between 2001-2015 is forthcoming in English and French volumes in 2017 from PURH, and the documentary essay Artifact of Hope (from “Letters Not about Hope”) is forthcoming in 2017 from Kenning Edition’s Ordinance chapbook series. Other critical writing and presentations have most recently focused on Poets Theater and text-based improvisation, durational time and the politics of contemporary feminist experimental writing, and Canadian novelist Gail Scott’s The Obituary. Her previous creative works include W— /M— (Split/Level Text, 2013), Adorno’s Noise (Essay Press, 2008), and two volumes of selected writings: Animal Instincts: Prose, Plays, and Essays (This, 1989) and There Never Was a Rose without a Thorn (City Lights, 1995). Collaborations include The Wide Road with Lyn Hejinian (Belladonna, 2011) and the multi-authored work The Grand Piano, an Experiment in Autobiography: San Francisco, 1975-1980 (Mode Z, 2010). Open Box (with Jon Raskin), a CD of music and text performances based on her long-poem Open Box (Belladonna, 2006) was released on the Tzadik label in 2012. Her work has appeared in more than thirty national and international anthologies and her works for performance have been presented nationally and internationally. Recent international performances include bilingual versions of Mirror Play in France (2017) and a keynote lecture-performance (with pianist Magda Mayas) Occupying Theodore W. Adorno’s “Music and New Music” presented at dOCUMENTA 13. A CD of the Adorno lecture-performance with Gino Robair on piano is forthcoming from Rastascan Records. Harryman has received numerous awards including a fellowship from the Foundation for Contemporary Art; grants from the National Performance Network and Opera America, Next Stage; and awards in poetry from the Wallace Alexander Gerbode Foundation and the Fund for Poetry. She is a Professor in the Department of English Language and Literature at Eastern Michigan University where she teaches in their interdisciplinary creative writing program, and she serves on the summer faculty of the MFA Program of the Milton Avery School of the Arts at Bard College.
Kevin Killian, one of the original “New Narrative” writers, has written three novels, a book of memoirs, four books of stories, and four books of poetry. He has become well known for his biographical and editorial work on the American poet Jack Spicer (1925-1965) and is now, with Kelly Holt, editing Spicer’s letters for Wesleyan University Press, For the San Francisco Poets Theater Killian has written forty-five plays, and the anthology he compiled with David Brazil—The Kenning Anthology of Poets Theater 1945-1985—has become the standard book on the subject. Recent projects include Tagged, Killian’s intimate photographs of poets, artists, writers, musicians, filmmakers and intellectuals; and, with Dodie Bellamy, Writers Who Love Too Much: New Narrative 1977-1997 (Nightboat Books).
Chris Kraus’s latest book is After Kathy Acker, a literary biography. She is the author of four novels and two books of art and cultural criticism. In 1990, she founded the Native Agents new fiction series for Semiotexte, which she continues to edit, together with Hedi El Kholti and Sylvere Lotringer. She lives in Los Angeles.
Eileen Myles is a poet, novelist, performer and art journalist. Their twenty books include Afterglow (a dog memoir), a 2017 re-issue of Cool for You and I Must Be Living Twice/new and selected poems, and Chelsea Girls. Eileen is the recipient of a Guggenheim Fellowship, an Andy Warhol/Creative Capital Arts Writers grant, four Lambda Book Awards, and the Shelley Prize from the PSA. In 2016, Myles received a Creative Capital grant and the Clark Prize for excellence in art writing. Currently they teach at NYU and Naropa University and live in Marfa TX and New York.
Camille Roy’s most recent book is Sherwood Forest (Futurepoem, 2011). Earlier books include Cheap Speech, a play (Leroy, 2002), Craquer, a fictional autobiography (Second Story Books, 2002), and Swarm (Black Star Series, 1998), as well as The Rosy Medallions (Kelsey St. Press, 1995) and Cold Heaven (O Books, 1993). She coedited Biting the Error: Writers Explore Narrative (CoachHouse, 2005; reissued, 2010). Roy has taught creative writing in multiple genres and forms at several institutions, most recently at San Francisco State University.
Jocelyn Saidenberg is a Bay Area writer, performer, and educator whose books of poetry include: Mortal City (Parentheses), Dusky (Belladonna), Cusp (Kelsey Street Press), Negativity (Atelos Press), Shipwreck (2nd Floor Projects), and Dead Letter (Roof Books). With Brandon Brown she co-curated the Performance Writing Series at New Langton Arts. She is the founding editor of KRUPSKAYA Books. Currently she’s working on an elaboration of the atomic poetics of Lucretius.
Gail Scott is an experimental novelist. The Obituary (New York, Nightboat, 2012; Coach House: 2010), a ghost story with a fractalled narrator set in a Montréal triplex, was a 2011 finalist for Le Grand Prix du Livre de la Ville de Montréal. Other novels include My Paris (Dalkey Archive), about a sad diarist in conversation with Gertrude Stein and Walter Benjamin in late 20th Paris, Main Brides and Heroine. Spare Parts Plus 2 is a collection of stories and manifestoes. Essays are collected in Spaces Like Stairs and la théorie, un dimanche. (translated as Sunday Theory from Belladonna, NY, 2013). Scott’s translation of Michael Delisle’s Le Déasarroi du matelot was shortlisted for the Governor General’s award . Scott co-founded the critical French-language journal Spirale (Montréal), Tessera (new writing by women), and is co-editor of the New Narrative anthology: Biting the Error: Writers Explore Narrative (Toronto: Coach House, 2004).
Robin Tremblay-McGaw lives in San Francisco, writes about poetry and poetics, and teaches in the English Department of Santa Clara University and at Bard College as part of the Institute for Writing and in the Language & Thinking Program. Robin is the author of Dear Reader (Ithuriel’s Spear 2015) and the editor of xpoetics.blogspot.com . Robin’s writing on Harryette Mullen, Joan Retallack, Jocelyn Saidenberg, Mike Amnasan, Eleni Stecopoulos, Claudia Rankine, Kathleen Fraser, and others has appeared in Tripwire, MELUS, Aufgabe, Crayon, ON Contemporary Practice, Feminist Spaces 2.2, Jacket2, albeit: Black Lives Matter, Dear Kathleen: Essays on the Occasion of Kathleen Fraser’s 80th Birthday, Biting the Error: Writers Explore Narrativity, and elsewhere. With Rob Halpern she co-edited From Our Hearts to Yours: New Narrative as Contemporary Practice, forthcoming from ON Contemporary Practice in the fall of 2017. Currently she is revising a manuscript entitled “This Side of a Human Future: Poetry Wars and Imagined Communities in the San Francisco Bay Area, 1975-1995.”