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Rebecca Eland Wenrick is the author of Within the Hour / Arrives, then Steady Pace with the Hour (Plein Air Editions), and Pages—a translation from the Spanish, the poetry of Leonardo Cruz Parcero. Rebecca earned her B.A at Naropa University and an M.F.A at Saint Mary’s College of California. She has had the pleasure to perform with dancers from the Boulder Ballet, and to participate with such poetry projects as “Seeding the John Muir Way,” Edinburgh and Glasgow Scotland. She occasionally teaches at Deer Park Institute, India and currently lives in the mountains of Boulder, Colorado.
Stacy Blint is a multidisciplinary artist and writer. Based on the premise that with each breath we are erased a little Disappearing Books is an ongoing multidisciplinary project.
Stacy cultivates a daily studio practice. Currently she is in the process of documenting The Art Bunker, a site specific environment that draws on a strong affinity with one of her earliest influences, the Wisconsin artist Mary Nohl.
At present Stacy lives in Wisconsin and enjoys it’s rich and not so distant history of pioneers and settlers. Her poems have appeared in Big Bridge, The White Wall Review, Matchbook Magazine, and Drupe Fruits. She is the author of the chapbook 13 Golden Hooks (Saint Earl Press). Her writing has also been featured in the book for the album Death Blues, Ensemble. Professionally she works as a creative director.
Mark Tardi is originally from Chicago and he earned his MFA from Brown University. His publications include the books The Circus of Trust (Dalkey Archive, 2017), Airport music (Burning Deck, 2013), and Euclid Shudders (Litmus Press, 2004). He guest-edited an issue of the literary journal Aufgabe devoted to contemporary Polish poetry and poetics and has translated poetry from the Polish by Kacper Bartczak, Miron Białoszewski, Monika Mosiewicz, and Przemysław Owczarek.
A former Fulbright scholar, he lives with his wife and two dogs in a village in central Poland and is on faculty at the University of Łódź.
natural golden pigment
chromatic third relations
the house casts its roofline
on the empty field across the street
suddenly becoming detached
trees mostly brown
the slightest indication
tiny green buds
road a strange train
rode when presented with
a decorated laundry hamper
dessert out of town
On Waverly Street
Near the Opera Institute
flooding music from the apartment
felt to be mobile world
ducks in the window
then the Giants
and after chicken bones,
scrap metal lay side by side
confetti makers at the curb, empty of their
iodine paper, the upstairs stoop
gets quiet, no one watching baseball
except the dish washer drying dishes
with his t-shirt and the woman
who waits, in turn, for him
such a long way,
even with the porch-light on at the quick block.
—Rebecca Eland Wenrick
from "Attribution Error"
As ridiculous as writing a postcard to her cat
these were bodies like mismatched socks
a kind of furniture
no more holdable than the wind
frying onions, diesel oil, the sea itself
waiting to carry out the inevitable
or a hundred other lies
like the moon
like intestinal love
howling across the zero between waking and sleep
the same cross-ply screwdriver
with the weight of a table over their heads
interconnecting tubes, tubes respected or
distorted, curiously cut open, inflected
outside the bare acoustics
in soft-shoe trance
its neural depths, its stages, layers and folds