Friday, June 6th, 6:30pm — Join us for the third Spring Broadsides Reading, with Urayoán Noel and Mariahadessa Ekere Tallie, hosted by LaTasha Diggs.
Urayoán Noel is the author of various books of poetry in English and Spanish, including, most recently, Los días porosos, Hi-Density Politics, Boringkén, and the artist book The Edgemere Letters, a collaboration with artist Martha Clippinger. His forthcoming books include the critical study In Visible Movement: Nuyorican Poetry from the Sixties to Slam, the performance text EnUncIAdOr, and, as a translator, Architecture of Dispersal: Selected Vanguard Poems of Pablo de Rokha. Previously an Assistant Professor of English at SUNY Albany, Noel currently teaches at New York University. Born and raised in San Juan, Puerto Rico, he lives in the Bronx, where he occasionally performs and records with the band Los Guapos Planetas.
Mariahadessa Ekere Tallie is the author of Karma’s Footsteps. She is the Poetry Editor of African Voices literary magazine. Her work deals with silence, sexism, and racism and has been published in Crab Orchard Review, BOMB, Paris/Atlantic, Go, Tell Michelle, Listen Up!, and Revenge and Forgiveness. Tallie’s work has been the subject of a short film “I Leave My Colors Everywhere.” In 2013 she was chosen as one of five featured artists in the Queens Art Express project sponsored by the Queens Council on the Arts. A student of herbalism and agriculture, Tallie was awarded a grant in 2010 by the Queens Council on the Arts for “Osain’s Children” her work on herbalists of the African Diaspora. She has taught literature and composition at York College and Medgar Evers College in New York City.
Writer, vocalist, and sound artist, Latasha N. Nevada Diggs is the author of three chapbooks which include Ichi-Ban, Ni-Ban, and Manuel is destroying my bathroom, as well as the album, Television. Her work has been published in Rattapallax, Black Renaissance Noir, and Polvo, to name a few.
We’ve discussed broadsides before in our Thursday Terms, but here is a quick refresher to cap off the post:
A broadside, in its literal definition, is a sheet of paper that is printed on one side only. Historically, broadsides were posters, proclamations, or advertisements that were placed on doorways and trees throughout towns and cities. […] A modern-day example of this is a “No Parking Tuesday” sign that can be found attached to poles in cities when streets need to be paved or movies filmed. These cheap, single-sided pieces of paper are meant to inform the people, but are assumed to be thrown away once Wednesday rolls around.
Today, broadsides are still single-sided prints on paper, but the term has also become linked with poetry. Poems, particularly short poems, are often printed on broadsides made with fine paper. Unlike the historical prints that done quickly and on cheap paper, poetry broadsides—like the ones we print here at the Center—are carefully printed with imagery and a design fitting for the poem on beautiful, heavy-weight paper, and are intended to be saved, framed, and hung on the wall. The ones given out at our Broadside Reading Series are also signed by the poet, and can even use mixed-media effects such as Phillis Levin’s broadside (from a 2004 Center Broadside Reading Series) seen [below], which has a piece of string strung throughout the piece.
To celebrate the unity of poetry, performance and print, attendees of the Reading Series will receive a free, limited edition broadside as a keepsake.
Suggested donations for attendees are $10 for non-members; $5 for CBA members.