Tuesday, 9 July 2019

From Eléna Rivera

1 March - 31 May 2019

At the exact half-way point in my residency (I had just been looking at the Caravaggio’s in a very crowded Louvre—irritated by all the people rushing to see the Mona Lisa) I heard that Notre Dame was on fire. Notre Dame?! I walked and walked and walked, trying to wear out anxious emotions which this terrible event had arisen in me. It became a way to think of my residency, before the fire and after the fire; it became a marker. 

Before the fire there was watching spring flowers and new leaves arrive first slowly then in profusion; there was a pink tree in the Jardin du Luxembourg (an acajou de Chine ‘Flamingo’); there were days spent at the American Library writing and reading; there was swimming at the foot of the Tour Montparnasse and Qi Gong in the park; there was Agnès Varda’s death; and there was a deep sense of solitude that I hadn’t experienced in years that stimulated my imagination as I faced the blank page. 

After the fire, I became more focused in my writing; I started missing Russell; the Gilets Jaunes kept marching on Saturdays. There were solitary days and days of meetings with poet and artist friends; Wim Wenders on the ceiling and walls of the Grand Palais at midnight; more readings (including one of my own for the Ivy Series at Berkeley books); Franz Marc and Auguste Macke at the Orangerie; Hammershøi at the Musée Jacquemart; the stained glass at the Sainte-Chapelle; and always there was writing at the Jardin du Luxembourg, at a café, on my couch, and at the kitchen table. 

The Trelex Poetry Residency made it possible for me to focus on poetry and the imaginative, without concern to the results of my endeavors. It also provided solitude such as I hadn’t experience in a long time in a way that made understanding certain things about myself possible. Kindness and generosity were shown to me time and time again. Walking home after a reading, the sheer joy of being in those Parisian streets at dusk. 

Friendships, solitude, the importance of the arts, the balance between community and solitude; what gifts! Many thanks to Nina Rodin and Elizabeth Hansen and to everyone at Trelex who made my residency possible, the reverberations of which I will be experiencing for a long time to come.

Saturday, 17 February 2018

From Kristin Sanders

17 Feb - 1 May 2018

“One must love during an instant… as one loves the crimson hues of the sun at the moment when it disappears below the horizon.” -Valtesse de la Bigne  

I arrived on February 17th, in the year of our godforsaken ‘Tit-Rump, from sunny and warm San Luis Obispo, California, to catch the tail end of a Paris winter. It was cold and snowy, and an even colder front was coming soon from Russia. And then the internet went out. I spent time in the neighboring cafes, using what wifi I could find for WhatsApp plans, feeling a little lost and disconnected.  

Within a short time, I’d managed to get a French SIM card and phone number, and the apartment had new fiber optic cable wifi installed, with the help of the fabulously generous and patient Elizabeth Hansen over the phone and friendly wifi technicians in person. I met some neighbors in the elevator, a lovely couple who invited me in to see the architecture of their apartment (a number of garrets combined into one) and offered their assistance, should I ever need it.  

And then it was spring, and I was reading at the Luxembourg Gardens or picnicking in Parc des Buttes-Chaumont with friends. And— these friends! What began as a few American poet acquaintances in the city ended as a community of supportive, engaged friends, always going to readings, inviting me along, hosting literary events, inviting me to their art studios or out for wine or dinner. I felt instantly welcomed into a remarkable group of women poets: Jennifer Dick, who invited me to read at the Ivy Writers Series; Lisa Pasold, a friend I knew from New Orleans; Carrie Chapelle, another New Orleans connection who became a close friend; and Christine Herzer, artist-poet who I met at the Ivy reading and former Trelex resident. And everyone knows Laura Mullen, of course, and everyone knows Cole Swenson, too, and I'm sure I'm forgetting others.  

What a brilliant, loving community I was lucky enough to be welcomed into, with the help of the Trelex residency!  And in the meantime, between the readings and literary events; the hours spent at the desk in front of that dazzling view; the books bought and read from Berkeley Books and The Abbey and Shakespeare and Company; the nights wandering the streets, feeling alone and safe— in the meantime, I lived and wrote in Paris.  

Never again will I have the chance to live in a beautiful apartment on the Left Bank with such a generous, luxurious stretch of time and no responsibilities to get in the way of writing, reading, and thinking. I thought about what it means to be an expat, what it means to migrate, what it means to be privileged in this particular way. I read Sylvia Beach’s memoir and took note of the addresses for the original and second locations of her bookstore, Hemingway and Joyce’s hangouts, Gertrude Stein and Alice B. Toklas’ apartment— all within walking distance of the Trelex residency. I realized that every time I walked down Rue de Fleurus to the Jardin du Luxembourg, I had passed the Stein and Toklas home, and the plaque on the wall commemorating it. And another American expat, Natalie Clifford Barney, who, for sixty years, held weekly literary salons at her "Temple of Friendship" on Rue Jacob, also just down Rue de Rennes.  

I worked on a chapbook of poems I like to call “Je déteste mon président,” because I do, and I tried to say this to everyone I met, in my stilted French: “Je m'appelle Kristin, je suis Californien, je suis un écrivain féministe, je déteste mon président.” The response was either, “Yes, how could this be?!” or “Ours is just as bad.” Or, as one American poet reminded me, “Honey, a country is not its president.”  

And in the darkness of this political moment, I loved. I loved in an instant. I loved because it was easy to love what I could hardly comprehend. I loved because of the female statues throughout the city, the very feminine quality of it, a city imbued with intellect and art. That I couldn’t comprehend the conversations around me, that I didn’t always know exactly where I was, that a map on my phone told me which Metro line to take to arrive at the exact right spot and on time, that I found and lost a French lover, that I found others still, that I fell in friendship-love with my girlfriends, that I wrote in the midst of it all— only served to remind me of what it means to be a poet: someone in love with the world.  

A reminder I needed, we all need, and for which I am eternally grateful— especially to Elizabeth Hansen, Nina Rodin, and Abi Box

Tuesday, 14 November 2017

From Keri Smith

08 Nov - 13 Dec 2017

“Parisian itineraries. Leisurely strolls quite obviously (and fortunately) unknown to the tourist trade, for there is nothing to see on these routes except for poetry in the rough, which paying travelers would never appreciate: the poetry of masonry, cobbles, boundary stones, carriage entrances, dormer windows, tiled roofs, patches of grass, odd trees, dead ends, byways, blind alleys, inner courtyards, storage sheds for coal or building materials, wreckers’ yards; the poetry of workshops, still vacant lots, bowling alleys, bistros-cum-refreshment stands; the poetry of colors but also of smells, a different smell for every doorway. Serpentine itineraries winding on endlessly, interminable itineraries open to anyone who knows how to wander and how to look.” - Jean-Paul Clébert, Paris Vagabond

     The last time I took a long trip out of the country I was in Buenos Aires by myself in 2013. Since then I’ve mostly traveled with friends, or alone to places where there would certainly be a lot of my friends, and for that I’m very thankful. But these were the same friends who when I got back from Argentina asked me, what did you do? And then they didn’t believe me when I told them, well I really just walked around. I wrote. I read five or six books.   
     I understand why they don’t believe me because these are the same friends that see me at three A.M. ready to go on to the next spot, or back to my house. When I’m around people I’m lively. I like chatting. I like drinking. I like being upright for as long as possible. But when I’m alone I revert back to my early childhood years of solitary observance. I always have a book with me, and I can walk for hours on just one cup of coffee. I pass up long dinners for a loaf of bread at home or in the park maybe. I take my book to bed with me shortly after 10P.M. and I’m up with the sunrise at 7. No one ever believes me. But because I love people I love travelling to places where I can be alone, sitting in a cafe surrounded by couples having their intimate conversations. To walk past doorways where someone is cooking dinner. To smile graciously at strangers. It’s one of the reasons I love New York, it’s easy to feel alone, but comfortable. Alone but like you belong in the busy world around you.   
     The apartment in Paris is perfect. Things seldom look just like their pictures but this place does. As soon as I got here I flung open the double glass panes of the window. Light lit up the hardwood floors. I did something I haven’t done in a very long time- I unpacked. Every single piece of clothing. I lined my books up. I plugged everything in. Then I went out to my favorite tea store (Kusmi teas are in my cupboard at home too) and the market where I filled the kitchen with the things I needed (bread, good olive oil, goat cheese, yellow tomatoes, Bordeaux) and I went to sleep. I woke up at 3A.M, jetlagged and happy. I opened my computer, and I started writing. My friend sent me a roll of film he took when he was in Paris with his band over the summer. I studied his pictures and I wrote accompanying poems. In the real, after breakfast, morning I set off to find those places. 
     It’s hard not to think of oneself as being monk-like, with all the Catholic imagery carved into almost every stone on almost every corner. But for someone that doesn’t usually have a routine, it seems appropriate. Normally in my week I work late hours at a bar, usually have a drink or two with my coworkers after and if I’m lucky make the smart decision to go home and answer emails or read. Sometimes there’s just too much to do. In New York there’s always a show, or a friend in town. Then in the mornings I either have to run straight to work, either to the bar job or to edit poetry submissions for Hanging Loose Press, or I want to go to a museum or get lunch with a friend or just sleep in and order Chinese food with my boyfriend...sometimes it’s hard to find the time to do laundry, let alone write, or answer emails from friends, or send letters, etc. When you’re working and also in love suddenly there’s just less hours in the day. Here it’s the whole opposite. I wake up 7, I stretch out on the floor like an overweight, old cat (I will turn 32 here alone next week). I attempt to do some kind of derelict yoga. Then I make my Russian black Kusmi tea, answer emails and listen to NPR, and then drink more tea. I try to study French for the next hour either listening, writing, or talking to myself. Then the next two hours I write. I write two poems for myself, then three or four for Andy’s photos (I suspect we will have a zine put together by the end of the month!) then I try to work on an essay (like this one). After that the sun should be OUT, so I go out with it. I walk around buildings, sometimes going into museums, but nothing serious yet. I only sit down in restaurants for coffee, I haven’t given into a full meal yet since I’m still in love with the markets and my kitchen. Then when the sun is going down around 5, I come back and clean up. I do the dishes. I sweep. I wipe the counters. It feels good to have the time to be responsible for a space, and to my body and my inner self. Then in the late evening I read, drink more tea, and finally write until I think it’s at least a decent hour to go to bed. I don’t think anyone will believe me, but I will have the poems to prove it. 

Keri Smith 

Wednesday, 1 November 2017

From Laura Mullen

01 Oct - 01 Nov 2017

This photo, taken from my worktable in Paris (during my residency at Trelex Foundation) makes vivid the solitude and peace (as well as the easy access to nurturing stimulation!) which are so vitally necessary. The notebook I was asked contribute to an archive at the University of Auckland is seen here, open to the blank page--that terrible and wonderful invitation, that great challenge. The opportunity to confront that space of possibility unites writers and scholars at every level, and I will keep this image in my heart as I return to my teaching and mentoring. We all start from and return to this (alone): nothing. This image reminds me to honor that space—and I post it here as a souvenir, to say that I am grateful to have had this tremendously productive and nourishing sabbatical.


Wednesday, 19 April 2017

From Christine Herzer

18 Jan - 18 Apr 2017



the heart does not want to participate

the voice of the woman poet being extinguished

Christine Herzer 'the voice of the woman poet being extinguished', (2017); Marker, Pencil on Paper, 26 x 80 cm

le rêve n'est pas mort 

happy [View from the Trelex Studio]

Christine Herzer 'happy' (2017); Marker on Paper,  65 x 50cm

I read my poetry for Ivy Writers Paris , a monthly bilingual experimental poetry reading series curated by Jennifer K Dick. 
I led a writing [language/art]-workshop inside of Sarah Knill Jones Painting Studio. (Sarah kindly/generously let me transform her studio...).
My 'Coup de Coeur': Villa Vassilieff, a new cul­tural estab­lish­ment owned by the City of Paris. Within walking distance. The library is fantastic.
Many thanks to Elizabeth Hansen, Heather Hartley, Sarah Knills-Jones, Astrid Dick & Anne Marsella for studio visits & enriching conversations.

Thursday, 16 March 2017

Jerwood Compton Poetry Fellowships

A significant new development opportunity for poetsThe Fellowships support individuals whose practice encompasses poetry in the broadest artistic sense, investing in the process and practice of making poetry.

There will be three biennial editions between 2017 and 2022 supporting a total of nine artists. Successful artists will each receive £15,000 to support a year of Fellowship alongside mentoring and a network of critical friends. Nominations have been made by a list of specialists working across arts disciplines and the first three Fellows will be announced in June. More...