The Monsters Of Poetry series continues its rise from the grave with its first 2019 reading. Info
The Monsters Of Poetry series is a breath of fresh air when it comes to poetry, fiction, and creative-writing readings in Madison, creating a warm, welcoming, non-stuffy space in eclectic venues across town. This installment, the series first of 2019 and part of its recent comeback, features reading from Madison transplants Derrick Austin, Natalie Eilbert, Natasha Oladokun. After the readings, Madison's Ray Rideout Jazz Quartet will close out the night, continuing the series' on-again, off-again tradition of mixing in live music.
Austin is a poet whose work fuses art, mythology, religion, landscapes, and popular culture to confront what it means to be queer and black in America. He is a Cave Canem fellow whose debut collection, Trouble The Water, was the winner of 2015 A. Poulin Jr Prize in poetry. He's also a former Ron Wallace Poetry Fellow and a finalist for the Kate Tufts Discovery Award. His work has been featured in Poetry Society of America, BOAAT, and Poets.org (the latter published his jaw-dropping poem "The Lost Woods As Elegy For Black Childhood," which combines The Legend Of Zelda: Majora's Mask with an elegy for black children), among others.
Eilbert is the author of the 2016 Noemi Press Poetry award-winning Indictus. This collection navigates trauma and healing with a staunch, heart-wrenching approach to form and language. Her work delves into the unsaid and confronts the myriad of ways that women endure violence, and it has been featured in Buzzfeed, Poets.org, The New Yorker, and elsewhere. She is the editor of The Atlas Review and a former Jay C. and Ruth Halls Poetry Fellow.
Oladokun's poetry and essays have explored a variety of approaches to voice and form, but always has a strong sense of self and frequently focuses on black womanhood. She is a former Cave Canem fellow and is currently the inaugural UW-Madison First Wave Fellow. She is an associate poetry editor for storySouth whose work has been featured in Kenyon Review, Harvard Review Online, and The Adroit Journal, among others. —John McCracken