Poetry
96 pages, 6 x 8 inches
978-1733038430
Transverse–selected by guest editors Tracie Morris, Vincent Broqua, and Anna Moschavakis–weaves between languages and forms, cultivating the questions and lacunae that emerge in their encounter. In the three parts that make up the book, music, mathematics, philosophical logic, and lyric convention come in and out of relation to press upon questions of form and meaning-making, and attend to the moments when coherence appears to take place or dissolve. Following sonic and visual echoes, practices and plays upon citation, Transverse traces and distorts logics of allegory, repetition, and representation, moving towards an inquiry into the nature of our encounter with and recognition of the world.
Praise for Transverse
Language is never static; it flows. And as it flows it effects changes. Meaning undergoes metamorphosis, significance shifts. The message mutates; it decays, is erased, or it escapes. All of this is obviously true of literary translations, but it is true more generally of the language of poetry and therefore of poetry itself. Both desperately philosophical and tenderly present, 최 Lindsay in the writing of their book length Transverse recognizes language as both limit and threshold, impasse and passage. As the poetry unfolds, a reality comes into being. And that reality is, in turn, a realm of existence from which the language of the poetry can speak, however indirectly, to us, the readers of the book. An inevitably indirect, incomplete and yet excessive communication transpires, one that can't help but reveal an incomplete and yet overflowing existence. One might term it a realm of the ghostly sublime, but it's a realm of social and physical reality, too, requiring both linguistic invention and answerability. There are few poets capable of rendering difficult and complex thinking into a work of rigorous and exquisite beauty, but this is exactly what 최 Lindsay has done. Transverse is magnificent.
–Lyn Hejinian
I have been experiencing something new, that I do not remember experiencing before, while reading Transverse, by 최 Lindsay: the experience of reading a book as a process of experiencing the process of a book being written. And I am returned, through the exacting coordinates of this experience, to the sensation–and to the sensitivity–of leaving a space–i.e. an exhibition of unraveled weavings or glass cryptids or morphosyllables corporealized or sonic ghoul representations–a different person than I was when I entered. People, I mean: desynchronized, therefore multiplied, homographic and conversant, and finally accomplice to our selves.
–Brandon Shimoda
Taking after the geometries of Adrian Piper and Madeline Gins, 최 Lindsay's mathematics are not cruel or causal frictions but forms made kinetic, eloquent. Like air flexing in a wrist joint, light glancing off a pupil, 최 posits fractal inflections of hangul, braided disruptions of lyric, as a means towards permeability. No fossil here, instead, transitive speech act. Charting as the dented foundation that belies a changing consciousness; I slide in and out. I touch ghost, an egg, carnage, a flower. Precarious diagonal of arms, holding; like this I can almost hold it all.
–Trisha Low
Journals
From “Who Can Recall His Past Lives” — Changes Review
A short piece on Theresa Hak Kyung Cha, solicited by Frieze
FROM “wHO CAN recall HIS PAST LIVES” — bELLADONNA* CHAPLET SERIES, #278
From Heliotrope — Aster(ix) Journal: The Poetry Issue
From Heliotrope — Amerarcana Issue 8
“Plait (After Anna Moschovakis)” — Omniverse 75
“PH(R)ase” — The Felt Issue 2
From “Cartesian Products” — HOLD: A JOURNAL Issue 2
from “Cartesian Products” — Apogee, Place[meant] Folio
From “Cartesian Products” — Apogee Issue 9
“On Anna Moschovakis” — The Operating System
Anthologies and translations
NIOQUES, 22/23: Nouvelle Poésie Des États-Unis (New U.S. Poetry), edited by DoubleChange Collective, and translated by Abigail Lang.
“PH(R)ASE” — in Bettering American Poetry Volume II
Chapbook
MATRICES (spect! Books, 2017)
Editorial Work
Founded in Berkeley, CA, 2019, by 최 Lindsay and Noah Ross, with kalie mcguirl as our printmaster, MO(O)ON/IO is a chapbook press dedicated to collaborations, compromised translations, visual work, and experimental forms.
Our spring 2020 catalog:
anna moschovakis — this one is capable of understanding
// At some point i became (a fiction)
An issue of poems, translations, and experiments in collaboration
Spring 2018
Berkeley Poetry Review in collaboration with Ordkonst
Featuring work from:
Ursula Andkjær Olsen and Katrine Øgaard Jensen, in collaboration
Amy Berkowitz
(Trans. Helena Fagertun)
Jenny Tunedal
(Trans. Jennifer Hayashida)
Ronald Johnson
(Transfer by Niclas Nilsson)
Olga Ravn
(Trans. Sherilyn Hellberg)
Leif Holmstrand
(Trans. Frank Perry)
Ida Börjel
(Trans. Jennifer Hayashida)
Johannes Göransson and Sara Tuss Efrik, in collaboration
Issue 48 of Berkeley Poetry Review, Spring 2018
Etc.
I have been organizing Uc Berkeley’s Interdisciplinary Marxist Working group since 2020, and an archive of events can be found here. I was a guest-editor of hybrid and non-fiction work for Foglifter 9.1. I wrote a blurb for Lyn Hejinian and Leslie Scalapino’s collaboration, Hearing. I appear in Maxe Crandall’s film, before bacchae before. I appear in Brandon shimoda’s blog for futurefeed. I helped curate Small Press Traffic’s High Dawn reading series from Fall 2020-Spring 2021. You can view a sample of my in-progress audio work here AND HERE.