WEBVTT

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Welcome, I want to make a
few announcements before we

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start tonight's reading.

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First of all, after
the reading we

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have for sale Jane
Miller's books.

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And we also have a
beautiful broadside

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that Clint Colby made
a few years ago of one

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of Jane's poems, "New Body."

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There are a very
limited number, I think,

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but it's really a beautiful
piece of printing,

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as well as a beautiful
piece of poetry.

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I think they're $10
apiece, and there

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are some other posters out
there for sale in the budget

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category at $1 apiece.

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And I'd also like to remind
you that the reading by Hayden

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Carruth is a little bit off
the norm for our schedule.

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So I want to remind you
that that's a Monday night,

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October 5th, and
it's at the Center

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for Creative Photography
rather than here.

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In the community, you
may be interested to know

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that on Sunday, October 4th,
the Lamplight Series, which

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has their readings down at
Bentley's downtown on Congress

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Street, will be sponsoring a
reading by LD Clark and LaVerne

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Harrell Clark.

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Tonight I'm delighted to
introduce Jane Miller.

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She's the author
of Many Junipers,

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Heartbeats, The
Greater Leisures,

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which was selected by Stanley
Plumly for the National Poetry

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Series, American Odalisque,
and lately, Working Time:

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Essays on Poetry,
Culture, and Travel,

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that came out in the
University of Michigan Poets

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on Poetry Series.

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Jane's won all kinds of awards,
most notably an NEA fellowship,

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a Guggenheim, and one that the
Poetry Center is particularly

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happy about, a three year
fellowship from the Lila

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Wallace Reader's Digest fund.

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In conjunction with getting some
more time for her own writing,

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that fellowship has enabled her
to start a poetry exploration

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workshop for elderly
people in Tucson

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who are interested
in writing poetry,

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and Richard Siken in
the graduate program

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here has helped out
with that project.

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I love what Jorie Graham says
about Jane Miller's work,

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that she's found a common
ground between James

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Wright and Charles Olson,
between the poetry of finish,

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and the poetry of process.

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Her work is kind
of extraordinary

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in that it can be defined in
almost all of the major ways

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we like to define, or don't
like to define, poetry anymore.

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You could say she's
lyric in the way

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that the work gets high
on spontaneous song,

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that it's narrative
in the way it contains

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a sense of fractured
continuities,

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and that it's metaphysical
in its sense of flight

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from the material.

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Best of all, she's
our friend, teacher,

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and colleague, Jane Miller.

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[APPLAUSE]

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Thank you.

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Thanks a lot.

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