Dr Sophie Seita, Queens'

 

 

Biographical Information

I am a Junior Research Fellow at Queens’. I read English at Johannes Gutenberg-Universität Mainz and at Magdalene, Cambridge, followed by an MPhil in Criticism and Culture (for a thesis on Kathy Acker and Christine Brooke-Rose), also at Cambridge. In 2016, I received my PhD from Queen Mary University of London. Between 2013 and 2014 I was a Visiting Scholar at Columbia University, and between 2015 and 2016 I held the same position at NYU where I taught two courses on ‘Print, Typography, and Form’ in the Media Studies department. During my PhD, I was involved with a research and digitisation project at Princeton University (http://bluemountain.princeton.edu/index.html) and with the British sound archive, Archive of the Now (http://www.archiveofthenow.org/). I am also an artist who works with language on the page, in performance, and in translation (www.sophieseita.com).

I have received a Beinecke Fellowship at Yale, a Princeton University Library Research Grant, a Charles D. Abbott Fellowship (Poetry Collection, SUNY Buffalo), a Queen Mary Principal’s Studentship, a Hölderlin Study Abroad Scholarship, the John Kinsella and Tracy Ryan Poetry Prize, a writing residency at The Guesthouse (Cork, Ireland), as well as scholarships, grants, and awards from NYU, Queen Mary University of London, Deutscher Akademischer Austauschdienst (DAAD), Studienstiftung des deutschen Volkes (multiple), Cambridge’s Judith E. Wilson Fund, the Cambridge Humanities Research Grant Scheme, Columbia University’s Gatsby Foundation, the Arts and Culture Fund (QMUL, London), PEN America, and Asymptote.

Contact: sts31 [at] cam [dot] ac [dot] uk

Research Interests

My research focuses on twentieth- and twenty-first-century Anglophone avant-garde writing, art, and poetics; literary communities; print culture and periodical studies; as well as experiments with autobiography as a mode (rather than genre) from the eighteenth century to the present. I’m currently revising a monograph tentatively called Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital—a diachronic study of provisional avant-garde communities through the medium of the ‘little magazine’, which rethinks received views of avant-garde ‘movements’ and their respective historical, social, and aesthetic boundaries. I’m particularly interested in aspects of a magazine’s production (including print technology and materiality), distribution (e.g. at readings, mailing lists, social media), and reception, as well as wider theoretical questions about hospitality, feminism, race, and canonicity, and what it means to be ‘avant-garde’ today. My second project on experiments in autobiography will continue my investigations into innovative writing and performance, genre, gender, and the politics and materialities of historical and new media. I also have an interest in experimental translations and multilingual writing.

I supervise students for both Part I and Part II of the English Tripos, including Practical Criticism, Lyric, American Literature, Contemporary Writing, and English Literature and its Contexts 1830-1945. I also supervise dissertations across these areas.

Areas of Graduate Supervision

I would be glad to work with M.Phil students on any topics covered by my research interests.

Selected Publications

peer-reviewed articles

  • ‘Tom Raworth’s Little Magazines: Outburst, Before Your Very Eyes!, and Infolio’, Critical Quarterly, 59.2 (Summer 2017), 11-33. 
  • ‘The Politics of the Forum in Feminist Avant-Garde Magazines after 1980’, jml: Journal of Modern Literature (accepted Jul. 2017, forthcoming early 2019).
  • ‘Experimental Translations and Translingual Poetics’, in Reading Experimental Writing, ed. by Georgina Colby (2018) [forthcoming] [peer-reviewed].
  • ‘The Ethics of Attention in Peter Larkin’s “Leaves of Field”’, Cordite Review, 44 (Summer 2013). Online: cordite.org.au/scholarly/the-ethics-of-attention/

as editor

  • Centenary facsimile reprint of The Blind Man (Ugly Duckling Presse/Beinecke Library, 2017). The boxed set includes my introductory essay as a separate booklet, a letterpress poster of The Ridgefield Gazook, and an offset printed poster for The Blind Man's Ball, designed by Beatrice Wood.

other articles and book chapters

  • The Blind Man Sees the Fountain: New York Dada Magazines in 1917; An Introduction’, introductory essay to the centenary facsimile reprint of The Blind Man (UDP, Fall 2017).
  • ‘Thinking the Unprintable in Contemporary Post-Digital Publishing’, Chicago Review, 60.4 (Fall 2017) [forthcoming]
  • ‘Lodging & Dislodging the Little Magazine: A Google Document Conversation in Fifteen Parts’, commissioned article, co-written with Danny Snelson, for the print and digital magazine Hotel (April 2017).
  • ‘Translator’s Afterword’ to i mean i dislike that fate that i was made to where (Wonder, 2015) and Subsisters: Selected Poems (Belladonna, 2017).
  • ‘Enclosing “Rape’” in Peter Larkin’s “Five Plantation Clumps Near Twopence Spring”’, in Were X a Tree: Glosses on Larkin, ed. by Amy Cutler [forthcoming]
  • Two collaborative texts, co-written with a group of feminist poets, for a forum on 'Sexism and Sexual Assault in Literary Communities': 'No Manifesto' (pp. 221-232), and a hand-out from the NYC-based feminist collective Enough is Enough (pp. 201-203), Chicago Review, 59.1 (2015).
  • Co-authored with Irmtraud Huber, ‘Authentic Simulacra, or, The Aura of Repetition: Experiencing Authenticity in Tom McCarthy’s Remainder’, in The Aesthetics of Authenticity: Medial Constructions of the Real, ed. by Wolfgang Funk and Irmtraud Huber (Transcript, 2012).

reviews

  • Review of Gabriel Rockhill’s Radical History & The Politics of Art (2014), in Modernism/modernity, 22.4 (November 2015).
  • ‘Grace Notes for Bernadette’, review of Bernadette Mayer’s republished Sonnets (Tender Buttons Press, 2014), in Lemonhound (March 2015), online.
  • ‘A Review of Marc James Léger’s Brave New Avant Garde: Essays on Contemporary Art and Politics’, Studies in Theatre and Performance, 33.3 (September 2013).

interviews

  • ‘A “Xerox Coup d’Etat”:  Sophie Seita Interviews Kevin Killian about Editing Mirage and Mirage #4/Period[ical]’, CLMP: Front Porch Commons (September 2015). Online: http://clmp.org/fpc/?p=223
  • ‘On Alembic’, Interview with Ken Edwards and Robert Hampson, Mimeo Mimeo, 9 (2014).

literary publications

  • Subsisters: Selected Poems, translation from the German of Uljana Wolf (New York: Belladonna, 2017) [forthcoming].
  • Meat (Houston, TX: Little Red Leaves, 2015).
  • i mean i dislike that fate that i was made to where, English translation of Uljana Wolf and winner of the 2014 Wonder Prize (New York: Wonder, 2015).
  • Fantasias in Counting (Buffalo: BlazeVOX Books, 2014).
  • 12 Steps (Cambridge: Wide Range Chapbooks, 2012).
  • Translations of Uljana Wolf in Currently & Emotion, ed. by Sophie Collins (Test Centre, 2016), and The New German Poetry (Bristol: Shearsman, forthcoming).
  • Numerous magazine publications in the UK, US, Germany, and Ireland, such as PEN America, The White Review, Cambridge Literary Review, Gauss PDF, and others.

other

  • Performance of Emilia Galotti's Colouring Book of Feelings, with Jocelyn Spaar, at Cité Internationale des Arts, Paris (May 2017), and with Erin Robinsong, at Parasol Unit (Jul 2017).
  • Performance of Les Bijoux Indiscrets, or, Paper Tigers, at Issue Project, Brooklyn (Dec 2016), and La MaMa La Galleria (Mar 2017), and Bold Tendencies, Peckham (Sep 2017).
  • Performance of Don Carlos, or, Royal Jelly, at Company Gallery, NYC, Apr 2016. The piece was longlisted for the Leslie Scalapino Award for Innovative Women Performance Writers.
  • Artist book, with Anna Moser, Aesthetic Failings, or, A Dialogue (2015); my contribution: poetry, letters, introductory note.
  • As editor: Cordite Review: A British & Irish Issue, co-edited with Matt Hall, 49.1 (March 2015). Online: cordite.org.au/content/poetry/irishenglish/
  • Invitations to read poetry, perform, or present other creative work in the UK, US, Ireland, and Germany, e.g. Entropics (University of Southampton, Feb 2017), Hannah Barry Gallery (London 2016), Center for Fiction (NYC 2016), Goethe-Institut (NYC 2016), Philalalia book fair (Philadelphia 2015), Segue Reading Series (New York 2015); Flying Object (Hadley, MA 2015); The Montpelier (London 2015); ‘The Avant: Contemporary Arts Festival’, Tactic Gallery, Cork, Ireland (2014); SoundEye Festival (Cork, Ireland 2014 and 2016); The Serpentine Gallery (London 2014), Buffalo Poetics Program (2013), Neue Töne Open Festival (Stuttgart, Germany 2012), among many others.