Contact: David Pavelich, Bibliographer for Modern Poetry / pavelich [at] uchicago.edu /
773.834.4338
ABOUT: This event is free and open to the public. The Special Collections Research Center (SCRC) at the University of Chicago Library welcomes you to the third annual Chicago Poetry Symposium, a yearly conversation on the history of Chicago poetry. Held in the University of Chicago Library's Special Collections Research Center (SCRC), the event highlights the SCRC's strong archival and book holdings in the history of Chicago poetry, including the papers of Harriet Monroe and her Poetry: A Magazine of Verse, Paul Carroll, Chicago Review, Flood Editions, Ralph J. Mills, Jr., Michael Anania, and others.
SCHEDULE:12:30-12:45: Welcoming remarks
David Pavelich, Bibliographer for Modern Poetry, University of Chicago Library
12:45-1:45: A Discussion on the Work of Sterling Plumpp
"It was very south": the Geography of Chicago and Mississippi in the Poetry of Sterling Plumpp
Garin Cycholl, Instructor in Creative Writing, University of Chicago, and author of several books of poetry
Phil Jenks, poet, author of My first painting will be "The accuser" (2005) and On the cave you live in (2002)
1:45-2:00: Break for refreshments
2:00-3:15: Avant-Garde Editors and their Magazines
Making No Compromise: Margaret Anderson and the Little Review
Nancy Kuhl, Curator of Poetry for the Yale Collection of American Literature at the Beinecke Library
Curating Location: Alice Notely and Chicago Magazine
Stephanie Anderson, Doctoral student in the English Department, University of Chicago
3:15-4:30. A Discussion on the Work and Legacy of Henry Rago
Slow Music: The Two Eras of Henry Rago
Al Filreis, Kelly Professor of English; Faculty Director of the Kelly Writers House; Director, the Center for Programs in Contemporary Writing; and Director of PennSound; University of Pennsylvania
Henry Rago and the Wider Door
Don Share, Senior Editor, Poetry Magazine
4:30-5:00: Refreshments/reception
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
