Poetry Reading By Nin Andrews And Caryl Pagel

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Poetry Reading By Nin Andrews And Caryl Pagel
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Please join us for a poetry reading by acclaimed poets Nin Andrews and Caryl Pagel!

Nin Andrews’ poems have appeared in many literary journals and anthologies including Ploughshares, Agni, The Paris Review, and four editions of Best American Poetry. The author of 6 chapbooks and 6 full-length poetry collections, she has won two Ohio individual artist grants, the Pearl Chapbook Contest, the Kent State University chapbook contest, and the Gerald Cable Poetry Award. She is also the editor of a book of translations of the Belgian poet, Henri Michaux, Someone Wants to Steal My Name. Her book, Why God Is a Woman, was published by BOA Editions in 2015.

About her recent book: Set on a magical island where women rule and men are the second sex, "Why God Is a Woman" is the story of a boy who, exiled from the island because he could not abide by its sexist laws, looks back with both nostalgia and bitterness and wonders: Why does God have to be a woman? Celebrated prose poet Nin Andrews creates a world both fantastic and familiar in which gender roles are turned upside-down, and where all myths, logic, and institutions support the dominance of women.

Caryl Pagel is the author of two full-length collections of poetry, TWICE TOLD (H_NG M_N Books, 2014) and EXPERIMENTS I SHOULD LIKE TRIED AT MY OWN DEATH (Factory Hollow Press, 2012) as well as two chapbooks, MAUSOLEUM (WinterRedpress, 2013) and VISIONS, CRISIS APPARITIONS, AND OTHER EXCEPTIONAL EXPERIENCES (Factory Hollow Press, 2008). Her poems and essays have appeared in AGNI, Denver Quarterly, The Iowa Review, Jacket2, The Mississippi Review, and Thermos, among other journals, and she is currently at work on a collection of essays. Caryl is the co-founder and editor of Rescue Press, a poetry editor at jubilat, and the Director of the Cleveland State University Poetry Center as well as faculty for the NEOMFA Program in Eastern Ohio.

Caryl’s recent book, Twice Told, is a grave collection of accounts and encounters in which
premonitions, visions, whispers, and coincidences circle a dire, unidentified plot. Disturbed and disturbing, over-heard and beheld, Pagel’s “perpetual disclosures” chillingly foretell the past and regret the future. How terrifying! How thrilling! Sung in the hushed tones of secret, instinctual, and incremental rhythms, Pagel’s beautiful “catastrophic underground echoes”
have the urgent intensity of a steady descent down a spiral staircase in a dream. When you put down this book of poems you will fear your own shadow.
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