Eléna Rivera (Poetry, Translation) was born in Mexico City and spent her childhood in Paris. She is the author of Atmosphered (Oystercatcher Press, 2014), Overture (chapbook, 2014), The Perforated Map (Shearsman Books, 2011), and Remembrance of Things Plastic (LRL e-editions, 2010). Her poems have appeared in The Nation, the New York Times, Drunken Boat, H_NGM_N, Zoland Poetry, Esopus, The Volta, and Tarpaulin Sky, among others. Her most recent poem Test of Labor is available from Essay Press (2015).
Eléna won the 2010 Robert Fagles prize in translation for her translation of The Rest of the Voyage by Bernard Noël, published by Graywolf Press in November 2011. She was also awarded a 2010 National Endowment for the Arts Literature Fellowship in Translation, and a 2009 Fundacíon Valparaíso Poetry Residency in Mojácar, Spain. She was the recipient of the 2007 Witter Bynner Poetry Translator Residency at the Santa Fe Art Institute, and received a poetry fellowship from the MacDowell Colony. She teaches in the McGhee Division at New York University, at Bard College, and has taught for Poets & Writers and at Poets House in New York City.
Atmosphered, Oystercatcher Press, U.K. 2014
Overture (chapbook), Annandale-on-Hudson, NY, 2014
On the Nature of Position and Tone, Fields Press,Chicago and New York, 2012
The Perforated Map, Shearsman Books, U.K., 2011
Remembrance of Things Plastic, LRL e- editions, San Marcos, TX, 2010
In Respect of Distance, Beard of Bees #45 (on-line chapbook and audio), Chicago, IL 2007
Mistakes, Accidents, and A Want of Liberty, Barque Press,London, UK, 2006
Suggestions at Every Turn, Seeing Eye Books, Los Angeles, 2005
Disturbances in an Ocean of Air (pamphlet), Phylum Press, New Haven, CT 2005
Unknowne Land, Kelsey Street Press, Berkeley, CA, 2000
Her Hand and A Botanist’s Dream, Artist’s books, 1996
Wale; or The Corse, Leave Books, Buffalo, N.Y., 1994
The Wait; for Homer’s Penelope, EM Press, Mill Valley, CA, 1994
Parting Movement, Constantly Prevented, by Isabelle Baladine Howald, Oystercatcher Press, Norfolk, U.K., 2014
The Pain of Returning, by Isabelle Baladine Howald, Mindmade Books, Los Angeles, CA, 2012
The Rest of the Voyage, by Bernard Noël, Graywolf Press, Minneapolis, MN, 2011
The 2010 Robert Fagles Translation Prize, National Poetry Series
Secrets of Breath, by Isabelle Baladine Howald, Burning Deck Press, Providence, RI 2008
How I teach:
I always wrote, but came to the idea of being a writer late. In college I studied theater and philosophy. I also traveled and worked at all sorts of different jobs until it came to me that the one constant in my life was writing. Writing I realized was something that I had to do, was compelled to do, that I was always writing. After that everything in my life became about making writing possible, so that it became difficult to find time to do anything else but write. Writing, like reading, helps me to live, teaches me about myself. I liken being a writer to being an artist or musician; we need to practice our craft so that what we have inside is able to come through.
As a teacher and mentor, I like to help students find their own unique ways to explore what writing means to them and what they hope to accomplish. The marvelous thing about poetry, or any writing, is that we never know what we’re going to be writing (what’s underneath) until we write it. That said, it is what we think we want to write, our ideas and sensibility to language, that take us toward this unknown, which is all about something in us that needs to be heard, written, seen.
I was born in Mexico City and at the age of three moved to France where I lived until I was thirteen. I was attuned to language at an early age. I think of my journey as one to find, as the French writer Marie Cardinal put it, “The words to say it.” I learned English memorizing sonnets by Shakespeare and by listening closely and reading widely--all habits that have had a deep impact on my writing and teaching.
The habit of writing is key (or as a teacher once told me: “Discipline is doing what you want”). It’s important for students of writing to write often, to practice, to memorize, to listen, read widely and wisely, to be willing to try new things. I work with students and make reading suggestions (in poetry, prose or non-fiction) to guide and inspire them. Reading the past we are able to write in the present as we move toward the future. It is important for students to know that they are part of a lineage—that they are in an ongoing dialogue with other writers and artists.
My goal is to work closely with students, ask them about the kind of feedback that would best help them, as well as encouraging them to develop a vocabulary for their writing. I value the study of form, the sonnet, sestina, rondeau, ekphrasis, among others, as well as work on open forms and/or lyric prose. I want students to write a lot, to find themselves writing more, developing a sense of their writing in relation to other writers and poets, and other fields of art. I also think it is important to engage students in various experiments and rigorous play, to give them prompts to help generate new writing and challenge old assumptions (to bring out the best in them). All this with no goal in mind but the students’ own potential. Should a student desire it, we can also work with translation. Translation is a very useful tool for understanding the importance of word choice and any student with more than one language (or even just a smattering of one) would be encouraged to work on some translations.
I like students to send me their packets via email, and depending on students’ preferences, I will respond by annotating the poems and students annotations thoroughly on Word’s Track Changes, by writing written feedback in a letter on separate pages, and by asking questions. I am happy working with students on long or short projects, discussing issues of poetics, and engaging students in discussions about readings. I am available for further consultations via email and/or phone to clarify and deepen our understanding of what the student most needs at that particular time.
I believe in being a conduit for student’s writing. I am not interested in imposing my predilections on a student, but instead prefer eclectic styles, modes and approaches. I am interested in the uniqueness of each and every one of my students, and how to mine the talent and aptitude that is already there. Nothing is better than conversing and engaging with students. I have had such marvelous teachers myself, and have seen how a shared and mutual dialogue in the art of writing can help to develop our abilities, lead us in new directions, and sustain us throughout our writing life.