Sam Truitt

Sam Truitt was born in Washington, DC, and raised there and in Tokyo, Japan. His  books include Dick: A Vertical Elegy (Lunar Chandelier, 2014), Vertical Elegies 6: Street Mete (SHP, 2012, Vertical Elegies: Three Works (UDP, 2008), Vertical Elegies 5: The Section (Georgia, 2003) and Anamorphosis Eisenhower (Lost Roads, 1998), among other books. An excerpt of Raton Rex (from Three Works) was selected by Robert Creeley for 2002 Best American Poetry (Scribner), and his work has also been anthologized in A Best of Fence: The First Nine Years (Fence Books, 2009) American Poetry: The Next Generation (Carnegie Mellon, 2000). His poems have appeared in Ploughshares, Denver Quarterly, Boston Review, Explosive, Jacket, Talisman, and First Intensity, among other journals. His critical writing may be found in Fulcrum and the American Book Review. His works of visual poetry have been exhibited at the Rothstein Gallery, Tonic and the St. Marks Poetry Project and may be seen on www.ubu.com, among other sites. His writing is in a semi-permanent installation at the Paramount Hotel’s Whiskey Bar, designed by Philippe Starck, off Times Square in New York City.

He is the recipient of a 2010-2011 George A. and Eliza Howard Fellowship, two Fund for Poetry grants, the 2002 Contemporary Poetry Series Award from the University of Georgia and residencies at Yaddo, The MacDowell Colony and Vermont Studio Center, among other professional acknowledgments.

Sam Truitt holds a BA from Kenyon College, MFA from Brown University, and a PhD from SUNY-Albany, where he teaches, as well as at Bard College. He is also the Managing Director of Station Hill of Barrytown, and with Kim Jaye and their daughters, Indiana and Evangeline, lives in the Mid-Hudson Valley. For more, visit www.samtruitt.org

In|Filtration: An Anthology of Innovative Poetry from the Hudson River Valley

Anne Gorrick & Sam Truitt, Editors

In|Filtration is an anthology of contemporary Hudson Valley poetry that in one sense or another is innovative. The poets’ work is sometimes formally original and other times innovative in the use of more familiar poetic forms: old bottle/new wine; new bottle/old wine; and, quite often, new bottle/new wine. Much of the poetry here is directly or indirectly in conversation with national and international movements directed toward more exploratory uses of the medium...

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Anne Gorrick & Sam Truitt, Editors

In|Filtration is an anthology of contemporary Hudson Valley poetry that in one sense or another is innovative. The poets’ work is sometimes formally original and other times innovative in the use of more familiar poetic forms: old bottle/new wine; new bottle/old wine; and, quite often, new bottle/new wine. Much of the poetry here is directly or indirectly in conversation with national and international movements directed toward more exploratory uses of the medium—work that goes beyond the explorer's map into uncharted territories, places where the map tatters in the explorer's pocket and another world begins. Like explorers the editors have sought to map the contemporary currents of radical poetics in the Hudson Valley. There is truly an enormous wealth of poetic activity in the region, and of course such an exploration cannot be comprehensive Themselves poets, the editors present what they take to be the salient characteristic of the region in their essay “A Hudson Valley Salt Line” at the end of the anthology, pointing to the geological, human and cultural histories of the Hudson Valley as they dovetail with its poetries. They also provide their rationale for the title In|Filtration with particular reference to the Hudson River's salt line, which becomes the essay's key trope.


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Street Mete: Vertical Elegies 6

Sam Truitt

Street Mete’s multimedia montage is a performative work in language/photo art. Truitt creates a poetics of transcribed voice recordings and on-the-spot photos made in the streets and subways of New York between 1996 and 2004....

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Sam Truitt

Street Mete’s multimedia montage is a performative work in language/photo art. Truitt creates a poetics of transcribed voice recordings and on-the-spot photos made in the streets and subways of New York between 1996 and 2004. Infused journal entries give autobiographical edge to its sometimes harsh historical landscape that includes the fall of civilizations, yoking for example the Mayan ruins of Chichén-Itzá to our current walkways. At core is spontaneous composition on the hoof, the “sudden diction” arising from a language artist meeting the world with recorder in hand, speaking forward—”a bit of rubble wearing clothes walking past madison square garden with a pair of enormous inflated boxing gloves oldenbergian in the car line catching fire...”


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