Curator of Ephemera at the New Museum for Archaic Media
Heid E. Erdrich writes from the present into the future where human anxiety lives. Many of her poems engage ekphrasis around the visual work of contemporary artists who, like Erdrich, are Anishinaabe. Poems in this collection also curate unmountable exhibits in not-yet-existent museums devoted to the ephemera of communication and technology. A central trope is the mixtape, an ephemeral form that Erdrich explores in its role of carrying the romantic angst of American couples. These poems recognize how our love of technology and how the extraction industries on indigenous lands that technology requires threaten our future and obscure the realities of indigenous peoples who know what it is to survive apocalypse. Deeply eco-poetic poems extend beyond the page in poemeos, collaboratively made poem films accessible in the text through the new but already archaic use of QR codes. Collaborative poems highlighting lessons in Anishinaabemowin also broaden the context of Erdrich’s work. Despite how little communications technology has helped to bring people toward understanding one another, these poems speak to the keen human yearning to connect as they urge engagement of the image, the moment, the sensual, and the real.
 
"1125099308"
Curator of Ephemera at the New Museum for Archaic Media
Heid E. Erdrich writes from the present into the future where human anxiety lives. Many of her poems engage ekphrasis around the visual work of contemporary artists who, like Erdrich, are Anishinaabe. Poems in this collection also curate unmountable exhibits in not-yet-existent museums devoted to the ephemera of communication and technology. A central trope is the mixtape, an ephemeral form that Erdrich explores in its role of carrying the romantic angst of American couples. These poems recognize how our love of technology and how the extraction industries on indigenous lands that technology requires threaten our future and obscure the realities of indigenous peoples who know what it is to survive apocalypse. Deeply eco-poetic poems extend beyond the page in poemeos, collaboratively made poem films accessible in the text through the new but already archaic use of QR codes. Collaborative poems highlighting lessons in Anishinaabemowin also broaden the context of Erdrich’s work. Despite how little communications technology has helped to bring people toward understanding one another, these poems speak to the keen human yearning to connect as they urge engagement of the image, the moment, the sensual, and the real.
 
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Curator of Ephemera at the New Museum for Archaic Media

Curator of Ephemera at the New Museum for Archaic Media

by Heid E. Erdrich
Curator of Ephemera at the New Museum for Archaic Media

Curator of Ephemera at the New Museum for Archaic Media

by Heid E. Erdrich

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Overview

Heid E. Erdrich writes from the present into the future where human anxiety lives. Many of her poems engage ekphrasis around the visual work of contemporary artists who, like Erdrich, are Anishinaabe. Poems in this collection also curate unmountable exhibits in not-yet-existent museums devoted to the ephemera of communication and technology. A central trope is the mixtape, an ephemeral form that Erdrich explores in its role of carrying the romantic angst of American couples. These poems recognize how our love of technology and how the extraction industries on indigenous lands that technology requires threaten our future and obscure the realities of indigenous peoples who know what it is to survive apocalypse. Deeply eco-poetic poems extend beyond the page in poemeos, collaboratively made poem films accessible in the text through the new but already archaic use of QR codes. Collaborative poems highlighting lessons in Anishinaabemowin also broaden the context of Erdrich’s work. Despite how little communications technology has helped to bring people toward understanding one another, these poems speak to the keen human yearning to connect as they urge engagement of the image, the moment, the sensual, and the real.
 

Product Details

ISBN-13: 9781611862461
Publisher: Michigan State University Press
Publication date: 03/01/2017
Series: American Indian Studies
Edition description: 1
Pages: 100
Product dimensions: 5.90(w) x 8.70(h) x 0.50(d)

About the Author

Collaborative artist, filmmaker, and independent curator Heid E. Erdrich teaches in the low-residency MFA Creative Writing program of Augsburg College. She is the author of five collections of poetry, including National Monuments, which won the 2009 Minnesota Book Award. Erdrich grew up in Wahpeton, North Dakota, and is Ojibwe enrolled at Turtle Mountain.
 

Table of Contents

Permanent Installation

Curatorial Statement for Wiindigo Eye 3

The Honey Suckers 4

Autobiography as Gesture 6

Wireless Handshake 8

Undead Faerie Goes Great with India Pale Ale 10

Red Star 13

The Gig of Light 15

Boom 16

The Dark Sky Reserve 18

Hang Fire 19

These Are My Pearls, This Is My Swine 21

Pre-Occupied 22

Curatorial Statement for Apocalyptic Poetics 26

At the Anachronism Fair 27

Mix Tape as Didactic

Indigenous Elvis Works the Medicine Line 31

Rise Up Fallen 34

Mix Tape Didactic… Hither 35

Charger 36

Incantation on a Frank Big Bear Collage 37

Little Spirit Will Not Be Caught 39

Exhibit A 40

Exhibit B-Bear 41

Exhibit F 42

Curatorial Note for Exhibit C 43

Exhibit Q-Q-Code Found Poem 44

Mix Tape Didactic… Break Up 1 46

The Four Findings of Agent H

The Mother 47

The Woman 48

Four Women 49

Agent Blue 50

Mix Tape Didactic …Break Up 2 52

Autobiography as Mix Tape for Lady Mon de Green 53

The New Archaic

The Buzz 59

Lexiconography 1/Clothes Pins 60

Aabjito'ikidowinan 1/Anishinaabe Language Lesson 1 62

Laundress 64

Shepherd 65

Dying Well 66

Lexieonography 2-It Was Cloudy 67

Aabjito'ikidowinan 2/Anishinaabe Language Lesson 2 69

What Gathers 71

Stars, Seeds, Signs, Ours 73

A Loud Green Dreaming 75

Ombigwewe Ozhaawaashkwaa Bwaajige/Anishinaabemowin Lesson 3 77

Manidoo Giizhikens/Little Spirit Cedar Tree 81

Curatorial Statement on The Long Gallery 84

Author's Notes 85

A Note about the Art 87

Acknowledgments 89

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