NATHALIE STEPHENS AT THE UNIVERSITY OF ALBERTA



DISTINGUISHED VISITOR
NATHALIE STEPHENS [see her 12 or 20 questions here]


March 31-April 4, 2008


Hosted by the Department of Modern Languages and Cultural Studies
with support from the Vice President Office (Research), The Canadian Literature Centre, English and Film Studies, MLCS and Women's Studies


Schedule of Events
Monday March 31, and Tuesday April 1


ALÉA: A TALK IN TWO PARTS


HC 1-145 - 6:30 PM
Receptions to follow in the Old Arts Building's Student Lounge


Wednesday, April 2


IN A PAPER CITY
WRITE NOTHING DOWN


MLCS 541: CAPITAL CITY IN LANGUAGES, LITERATURES, VISUAL CULTURES


HC 2-292 - 4:30PM


Friday, April 4


FROM ASTRAY TO ESTRANGED:
(SELF-)TRANSLATING CLAUDE CAHUN


Prairie Room, Lister Conference Centre
7 - 8:30 PM


Reception to follow in the Glacier Room, Lister Conference Centre


In addition, Nathalie Stephens will hold office hours Tuesday, April 1 and Friday, April 4, from 2-4 PM (Old Arts FacultyLounge: A320).


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Nathalie Stephens (Nathanaël) writes l'entre-genre in English and French. She is the author of more than a dozen books including The Sorrow And The Fast Of It (Nightboat, 2007), Touch to Affliction (Coach House, 2006), Paper City (Coach House, 2003), Je Nathanaël (l'Hexagone, 2003) and L'Injure (l'Hexagone, 2004), a finalist for the 2005 Prix Alain-Grandbois and Prix Trillium. Je Nathanaël exists in English self-translation (BookThug, 2006). Other work exists in Basque and Slovene with book-length translations in Bulgarian (Paradox Publishing, 2007). Her essay of correspondence, L'absence au lieu (Claude Cahun et le livre inouvert), published in 2007 by Nota Bene, will find self-translated form in 2009 with Nightboat. In addition to translating herself, Stephens has translated Catherine Mavrikakis, Gail Scott, Bhanu Kapil and Sina Queyras. Entre-genre, Stephens's recent work has striven toward an ethics of correspondence through a dismantling of the body's relationship to the notion of place, the body's own damningly elusive "where". Distrustful of genre delineation, Stephens pursues her work away from the usual generic safeguards, preferring instead the unexpected that arises from the arguably disreputable and misunderstood place where various lines cross. Literaturen vestnik (Literary Gazette, Bulgaria, 2007) has written this about Stephens's work: "If we are to speak of modern prose today, it is, in all probability, of this kind: situated nowhere as a genre, but intentionally omnipresent."