Aufgabe No. 10

Edited by E. Tracy Grinnell, Julian Talamantez Brolaski, Cole Swensen


Litmus Press
Original Language(s)
Additional Credits
Cover Art by Lee Etheredge IV
Design by HR Hegnauer, HvA Design & E. Tracy Grinnell
Edition, Year
First Edition, 2011
Paperback, Web-Ready PDF
Digital, In Print

Aufgabe is an annual journal of new American poetry, essays, notes, reviews, talks and poetry in translation. Aufgabe No. 10 features French poetry in translation guest edited by Cole Swensen. French poetry by Oscarine Bosquet, Stéphane Bouquet, Marie-Louise Chapelle, Suzanne Doppelt, Caroline Dubois, Frédéric Forte, Isabelle Garron, Éric Houser, Virginie Lalucq & Jean-Luc Nancy, David Lespiau, Sabine Macher, Vannina Maestri, Jérôme Mauche, Anne Parian, Véronique Pittolo, Virginie Poitrasson, Pascal Poyet, Nathalie Quintane, Sébastien Smirou, Gwenaëlle Stubbe, Éric Suchère, and Bénédicte Vilgrain, translated by Barbara Beck, Norma Cole, Jennifer K. Dick, Stacy Doris, Sylvain Gallais, Cynthia Hogue, Kevin Holden, Ellen Leblond-Schrader, Louise Loftus, Michelle Noteboom, Jean-Jacques Poucel, Eléna Rivera, Sarah Riggs, Lisa Robertson, Eleni Sikelianos, Cole Swensen, Keith Waldrop, Rosmarie Waldrop, Chet Wiener, and Andrew Zawacki.

This issue also includes poetry by Etel Adnan, Susan Maxwell, Paul Killebrew, Lawrence Giffin, Rocío Cerón (trans. Jen Hofer), Christopher Stackhouse, David Wolach, Román Luján (trans. Brian Whitener), Alli Warren, Catherine Meng, Lauren Levin, Paul Braffort (trans. Gabriela Jauregui & Amaranth Borsuk), René Lapierre (trans. Nathanaël), G.C. Waldrep, Jill Magi, Prageeta Sharma, Jane Joritz-Nakagawa, Robert Glück, Lauren Shufran, Mathew Timmons, Reynaldo Jiménez (trans. Carlos Lara), Stephanie Gray, Harold Abramowitz, Brian Laidlaw, Joan Retallack, and Rachel Blau DuPlessis. Essays, notes, reviews by: Erin Morrill, Johanna Drucker, Amaranth Borsuk & Gabriela Jauregui, Pierre Joris on Mansur Al-Hallaj, Paul Killebrew on Lewis Freedman, Jill Magi, and Robert Glück. Artwork by Lee Etheredge IV.

E. Tracy Grinnell
E. Tracy Grinnell is the author of Hell Figures (Nightboat Books, 2016), portrait of a lesser subject (Elis Press, 2015), Helen: A Fugue (Belladonna Elder Series ... Read More
Cole Swensen
Cole Swensen has published 17 volumes of poetry, most recently On Walking On (Nightboat Books, 2017). Art in Time, a collection of hybrid lyric writings on landscape art, is coming out from Nightboat in 2021. The author ... Read More
Julian Talamantez Brolaski
Julian Talamantez Brolaski the author of Of Mongrelitude (Wave Books 2017), Advice for Lovers (City Lights 2012), and gowanus atropolis (Ugly Duckling Presse 2011).  Julian was the coediter, with E. Tracy Grinnell and erica kaufman, of NO GENDER: Reflections on ... Read More

With works by various poets unknown to larger North American poetry audiences, [Aufgabe No. 10] includes writing by Oscarine Bosquet, Marie-Louise Chapelle, Sabine Macher, Anne Parian, Nathalie Quintane and plenty of others, and seemingly extend[s] a series of conversations throughout American publications, from Verse magazine’s triple-issue on French poetry and poetics (2007), or even back to an anthology of French writing edited by Norma Cole, one of the translators of the current issue.

— Rob McLennan, Rob McLennan’s Blog


About Aufgabe No. 11

It makes no sense to speak of contemporary French poetry—except in the sense that, increasingly, all literature that doesn’t fit into any other category gets called poetry, a trend I highly champion, as it broadens the definition of the art. And that’s also what contemporary French poets are doing: broadening the definition of la poésie to include and encourage an ever-diversifying array of approaches and forms. The one constant is exploration, and much of that is eroding the boundaries of the genre, of genre itself, and even of media.
Much pressure has been put on the line in contemporary French poetry, to such an extent that for many writers it has disappeared altogether as a formal principle, and in many cases that pressure has been transferred to syntax, either underscored through elaborately formal or distorted sentence structures or spotlighted through inventive violations and innovations. Where the line does remain, it is often given a performative stance and at times, in turn, performs an immediate graphic gesture on the page.
— Cole Swensen, “Dossier: Contemporary Poetry in France”

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