Tracie Morris USA

Close Listening -- Readings and Conversations at WPS1.Org
Clocktower Studio, New York, May 22, 2005
  1. Tracie Morris in conversation with Charles Bernstein (28:10)
  2. introduction (1:06)
  3. on where the poem exists (1:58)
  4. on composing sound poems (5:17)
  5. on living performatively (4:30)
  6. on the connection between artistic and political acting (2:05)
  7. on the effectiveness of art in transforming society (3:01)
  8. on being from Brooklyn (2:28)
  9. on performing in slam (3:04)
  10. on influences, immediate company, and historical materials (4:38)

WPS1 Reading/Performance
  1. Discussion of first two poems (0:32)
  2. Premie: Baby Girl Morris 2 lbs. 0 oz. (1:08)
  3. Heroine (0:59)
  4. Discussion of next two poems (0:19)
  5. There's Traces (1:20)
  6. Physical Plane (1:09)
  7. Discussion of Vertical (0:32)
  8. Vertical (0:50)
  9. Discussion of Sound Poetry (1:07)
  10. My Great Grand Aunt Meets a Bush Supporter (2:01)
  11. Discussion of Petro (0:43)
  12. Petro (1:34)
  13. Discussion of narrative poetry (0:58)
  14. What the sister brother ..." (1:12)
  15. Discussion of previous poem and Seeing an Ex-Lover in a Public Place (2:10)
  16. Seeing an Ex-Lover in a Public Place (0:37)
  17. Discussion of poems written for experimental theater (1:25)
  18. Afro-Futurism (1:50)
  19. Discussion of Afro-Futurism and Mother Earth (0:49)
  20. Mother Earth (0:44)
  21. Discussion of Project Princess (0:38)
  22. Project Princess (1:25)
  23. Entire Reading/Performance (25:39)

Close Listening produced by Charles Bernstein for WPS1
© 2005 Tracie Morris and Charles Bernstein
Studio Engineer: Darrell McNeill

Re-Sonate/Ursonate (2016)

Re-Sonate/Ursonate (41:14)

Morris's "Re-Sonate," her improvised collaboration or "handholding" with Ernst Schwitters's recording of Kurt Schwitters's "Ursonate" is part of handholding: 5 Kinds (Kore Press, 2016) and was recorded at the Wexler Studio at Kelly Writers House. In this two-track recording, Schwitters's recording is aligned with Morris's. Recording engineer: Zach Carduner.

Reading with Paolo Javier at the Lévy Gorvy Gallery for the launch of Dia's Readings in Contemporary Poetry: An Anthology, April 20, 2017

Reading with Paolo Javier at the Lévy Gorvy Gallery for the launch of Dia's Readings in Contemporary Poetry: An Anthology, April 20, 2017 (49:16)

WHAT I SAY Anthology Reading for the 2016 National Black Writers Conference at AWP, Brooklyn, NY, March 31, 2016

WHAT I SAY - Reading (11:03)

Segue Series Reading at the Zinc Bar, October 4, 2014
  1. Intro by Charles Bernstein (3:10)
  2. New poems (20:55)
  3. Re-Sonate (after Kurt Schwitters) (excerpt) (4:38)
  4. Improvisations (3:45)
  5. Coda to "My Great Grand Aunt Meets a Bush Supporter" ("It all started ...") (5:51)

What Oozed Through the Staircase: A Winter Afternoon of Surrealist Writing and Music
Philadelphia Museum of Art, January 26, 2014
(with Kenneth Goldsmith and Marina Rosenfeld)
  1. Leopold Senghor's "Speech and Image": An African Traditional of the Surreal (5:23)
  2. Quotes from Josephine Baker and excerpts from Kurt Schwitters's "Ursonate" (5:37)
  3. Excerpt of Scene II from Amiri Baraka's Dutchman (with Kenneth Goldsmith) (3:31)
  4. Bob Kaufman, "O-Jazz-O," "A Terror is More Certain..." and "On" (with Marina Rosenfeld) (10:11)

  5. Surrealist Game (with Kenneth Goldsmith) (2:14) - YouTube

Reading at Oh! Sandy: A Remembrance, Industry City, Brooklyn, New York, November 10, 2013 (4:05)

Reading at Oh! Sandy: A Remembrance, Industry City, Brooklyn, New York, November 10, 2013 (4:05)

Reading at Kelly Writers House, University of Pennsylvania, November 14, 2013
  1. Introduction by Al Filreis (10:38)
  2. Introduction (4:55)
  3. Blackout 1977 (3:24)
  4. Crazy Talk (1:00)
  5. Somniac (0:57)
  6. Apology to Pangea (1:40)
  7. Excerpted by Walt D (0:19)
  8. Untitled (1:23)
  9. Sean Bell (1:03)
  10. Myomectomy Psycho Takes a Bow (3:21)
  11. Breasts in the Bra (1:25)
  12. Shangol's Wife (0:56)
  13. Sethe on the Raft (1:21)
  14. In My Baby Bikini (3:05)
  15. A Dream Within a Dream (by Edgar Allan Poe) (2:33)
  16. Katrina Blues (2:11)
  17. Mahalia Theremin (3:23)
  18. The Mrs. Gets Her Ass Kicked (7:03)
  19. Q & A (8:48):

MLA Offsite Series Reading in Philadelphia, December 26, 2006

My Great Grandaunt (2:06)

From the Poetry and Cultural Studies: A Reader Launch Reading at The Bowery Poetry Club, September 19, 2009

Poetry and Cultural Studies: A Reader (5:15)

Reading at the University of Arizona Poetry Center, March 28, 2009, POG Sound

Reading at the University of Arizona Poetry Center (33:44)

Reading for the 3rd Annual Caroline Rothstein Oral Poetry Program at the Kelly Writers House, University of Pennsylvania, October 28, 2008
  1. Introduction (3:07)
  2. Heroine (2:09)
  3. Hard Kore (1:55)
  4. The Mrs. Gets Her Ass Kicked (6:01)
  5. Africa(n) (6:17)
  6. My Great Grand Aunt Speaks to a Bush Supporter (2:26)
  7. Coda (1:18)
  8. Money (10:04)
  9. Getaway 1928 (4:25)
  10. Pretty Feet (6:25)
  11. Petro (4:28)
  12. A Dream Within A Dream (by Edgar Allan Poe) (4:13)
  13. Complete Reading (53:06)

Ceptuetics Radio, September 17, 2008
  1. et It, Got It (a collaboration with Elliott Sharp) (2:52):
  2. from "Gallery" (1:15)
  3. from "Truth Be Told" (1:48)
  4. Complete Recording (28:05)

Conceptual Poetry & Its Others at the Poetry Center
University of Arizona, May 29 - 31, 2008

"Truth Be Told," collaboration performend with Charles Bernstein (11:24)

People's Poetry Gathering, 2006

Chain Gang (2:07)

Poetry and Empire: Post-Invasion Poetics KWH and ICA, UPenn, October 17-18, 2003

Friday, October 17, Dystopic Unity (2:11)
Saturday, October 18 (3:29):

Whitney Museum 2002 Biennial Exhibit

From Slave Sho to Video aka Black but Beautiful (3:40)

Vision Festival with DD Jackson, New York, 1997
  1. A Little" (3:16)
  2. "Chain Gang" (4:18)
  3. "The Mrs. Gets Her Ass Kicked" (3:31)
  4. Complete Recording (55:39)

Born in Brooklyn, interdisciplinary poet and sound artist Tracie Morris earned an MFA at Hunter College and a PhD at New York University. She studied acting at the Royal Academy of Dramatic Art in London and at Michael Howard Studios.

In her poetry, Morris transforms and complicates her subjects of abuse, power, and the body through repetition and accretive adjustments or substitutions, creating an intimate, dynamic space for readers and listeners. In a 2014 interview with Queen GodIs for Creative Capital, Morris states, “For me, sound poetry teases apart the meaning that is embedded with sound and separates that from literal meaning. So what I try to do is pull those things apart and then create a narrative arc from it.” In the essay “Improvisational Insurrection: The Sound Poetry of Tracie Morris,” published in American Poets in the 21st Century: The New Poetics (2007), Christine Hume observes, “Morris employs the kind of fierce, active repetition that might make even veteran Stein readers dizzy, but she does so with electric phrasing, lightning-fast tonal shifts, an uncanny sense of time, and a stampede of ligatured sounds that provides a literal vocal bridge between musical improvisation and poetry.”

Morris’s poetry collections include handholding: 5 kinds (2016), Rhyme Scheme (2012), and Intermission (1998). Her work is featured in numerous anthologies, including The Racial Imaginary: Writers on Race in the Life of the Mind (2015), The BreakBeat Poets: New American Poetry in the Age of Hip-Hop (2015), and An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art (2002). With Charles Bernstein, she coedited Best American Experimental Writing (2016).

Her sound installations have been presented at the Whitney Biennial, MoMA, the Jamaica Center for Arts &Learning, and other sites. She leads the Tracie Morris Band and is also a lead singer for the group Terraplane. A frequent performer at the Nuyorican Poets Cafe in the early 1990s, Morris won championships for the Nuyorican Grand Slam and the National Haiku Slam in 1993. She has received numerous additional honors, including grants from the New York Foundation for the Arts, Creative Capital, and the Asian Cultural Council and residencies at Yaddo and the Millay and MacDowell colonies. She has taught at the University of Pennsylvania, where she was a CPCW poetics fellow, and Pratt Institute, where she is a professor in humanities and media studies.