🌱πŸ”₯🐎 annelysegelman.com

For booking: hello@annelysegelman.com

Even the grass was coming up positive
Soles beading little match tips of blood
A reticular glitch made me saccade like crazy
Clouds like anemones, electric fortresses
A fungal spore might colonize your mouth
As you ate a hamburger, the last hamburger

That was the year the hurricanes began
I hardly swelled but felt her features forming
There were airs, waters, places, daughters
I pressed my eyes dry like flowers-in-book
A tree couldn’t move without tearing its roots
There was no other world to bring a child into

"Artist statement"

Hi! I'm Annelyse. I built this website! Femme brutalism forever!

When I was 16, I went to a concert where a procession of teenage musicians performed Erik Satie's composition Vexations over and over, for 24 hours straight. They used a single piano and switched off when their fingers tired out. This exhausting, invigorating, boring, psychedelic experience was one of my earliest initiations into the attitudes undergirding my work: play, frustration, patience, a fondness for acknowledging and then discarding methodology; research by way of obsession; poetry as a force for guiding, modulating, amplifying, dispersing, and otherwise forming a relationship with the reader's attention. Art can be sublime and confusing and hilarious and fascinating and heartbreaking and many infinite other things; what makes good art good, to me, is that it helps us keep our attention in the right place, a worthwhile place. You've read the news, right?

Our attention is what forms the gist, the gestalt, the this-ness of experience. The built world, for many of us, privileges recollection and imagination far above perception, drawing us away from the present tense. There's a place for mentally occupying the past and future, of course, but there's a danger: "recollection" can mean operating on autopilot or dwelling on trivialities, and "imagination" can easily mean exposure to advertising designed to make you feel a sense of lack, falling into the tar pit of social media, and so on. There are many painful things to reckon with in the present tense, so naturally, my work is often painful. But what I am trying to do is to be presentβ€”to see, in the wise words of Ashitaka, with eyes unclouded by hate. To remember that I am going to die, and that I should try not to waste my life.

I am interested in art as a means of reclaiming our attention (particularly in the context in which I live; a lot of people are paying a lot of money for a slice of our attention, our lives), and expanding our capacities for perception; I am interested in domesticated, everyday technologies; I am interested in the edges of poetry, in using poetry as an artist, in working with language as a medium, recognizing the inherently rich poly-modal, multi-sensory potential of poetry, especially where it intersects with other media (especially music and film). I am interested in collaboration and cross-pollination and collectivity. I am interested, above all, in relationships. I am interested in forms of connection and disconnect β€” belonging, intimacy, loneliness, love, vulnerability, violence β€”Β and how they relate to broader systems (ecological, social, legal, economic, etc).

Thank you, whoever you are, for your attention. I hope my work rewards it. If you would like to find out when I make something new, my newsletter is your best bet!

September 2022


Annelyse Gelman is a poet and artist from second book, Vexations, is forthcoming from The University of Chicago Press' Phoenix Poets series. Her work has appeared in The New Yorker, BOMB Magazine, TriQuarterly, The Iowa Review, the PEN Poetry Series, American Poetry Review, and elsewhere, and she is the author of the poetry collection Everyone I Love Is a Stranger to Someone (Write Bloody, 2014), the artist's book POOL (NECK Press, 2020), and the EP About Repulsion (Fonograf Editions, 2019).

Gelman was the inaugural poet-in-residence at UCSD's Brain Observatory in 2012; the Lavinia Winter Fellow at New Pacific Studio in Wairarapa, New Zealand, in 2013; a 2016 Fulbright grantee in Berlin for her work at the intersection of poetry, film, and music, and a resident artist at the Fondation Jan Michalski in 2019. Her poetry-films have been screened in festivals around the world, including in Germany's ZEBRA Poetry Film Festival, the FilmPoem Festival in Antwerp, dotdotdot in Vienna, Arcanum Video & Animation Festival in Slovenia, and the Rabbit Heart Poetry Film Festival.

In 2019, Gelman launched Midst, a digital platform for poetry focused on capturing, sharing, and exploring the writing process. Using special word-processing software built by collaborator Jason Gillis-Grier, Midst publishes poems in the form of interactive timelapses, allowing readers to see how each poem was written, from start to finish. Gelman currently serves as Midst's director & curator.

Annelyse holds an MFA from the Michener Center for Writers.

Currently booking readings/lectures/performances for Fall 2023, focusing on Vexations and Midst> β€” write me (hello@annelysegelman dot com) to get in touch!

Forthcoming in Spring 2023 from the University of Chicago Press: Vexations is a book-length poemβ€”a surreal, glitchy meditation on social and economic collapse, nonhuman intelligence, and the limits of empathy.

Phoenix Poets consulting editor Douglas Kearney writes: β€œWith this stunning shapeshifter of a manuscript, Gelman manages to create a remarkable hybrid: a book-length poetic narrative of speculative fiction, an urgent account of a mother/daughter relationship, and a coruscating view of our ecological future. . . . This is twenty-first-century literature in action.”


fence β€’ "the story" & "mushroom"
the new yorker β€’ "boy"
the new yorker β€’ "the climate"
BOMB magazine β€’ 3 poems from heck land
the offshore economist β€’ "SWIM"
the iowa review β€’ "spooky town"
southword journal β€’ "glossolalist"
the new yorker β€’ "conch"
best new zealand poems β€’ "hospital" from heck land
7x7 β€’ "power" parts i-vii
verse daily β€’ "class of whatever"
cultural weekly β€’ 3 poems
PEN poetry series β€’ 3 poems from heck land
nailed magazine β€’ 5 poems
embarrassment party β€’ "on silence"

POOL (2020)

Annelyse Gelman's POOL, a collaboration between NECK Press and Midst, offers an exploded view of the process of writing a single poem about a man who has drowned in a municipal swimming pool. Each page features a single moment from the poem's creation (in lieu of page numbers, the book uses timestamps). As the poem completes itself, POOL's blue pages become darker and more saturated, mimicking the fading of light as one dives into a body of water.

hey look, we made a π–’π–šπ–˜π–Žπ–ˆ π–›π–Žπ–‰π–Šπ–” for Lady!

Conceived + shot by Auden Lincoln-Vogel and James Siewert. πŸ’…

would you like to read my first collection? 🐣


Midst is a new digital publishing platform allowing writers to share their poems in the form of interactive timelapses, allowing readers to see exactly how they were written from start to finish, including the entire editing/revision process.

about repulsion

About Repulsion, a collaborative EP with Jason Grier featuring samples from Max Ritvo, Carl Phillips, & Brigit Pegeen Kelly, is out now on Fonograf Editions!

awards, exhibitions, etc.

artist-in-residence, fondation thalie (2021)
michener fellow, austin tx (2017-20)
writer-in-residence, fondation jan michalski (2019)
roy crane award @ ut austin (2018)
artist-in-residence, co-incidence festival, somerville ma (2018)
fulbright fellow, arts/filmmaking, berlin de (2016-17)
artist-in-residence, urban hinterland, arnis de (2017)
digital writers' festival, 'video hits', commissioned artist (2017)
"heck land" exhibit @ das giftraum, berlin de (2017)
lavinia winter fellow, new zealand pacific studio (2014)
co-organizer, ANAGRAM collective residency (2013, 2014, 2016)
kaspar t locher summer creative scholarship (2012)
poet-in-residence, uc san diego brain observatory (2012)

arts writing

hyperallergic β€’ review of words/matter at the blanton museum of art, austin tx
glasstire β€’ review of r eric mcmaster's "bells suspended from clouds" at testsite, austin tx
sightlines β€’ review of hedwige jacobs' "if i could, i would cover everything with my drawings" at women & their work, austin tx
glasstire β€’ review of steve parker's "war tuba recital" at big medium, austin tx
berlin art link β€’ review of rima najdi's "happy new fear" at ctm, berlin de
conflict of interest β€’ review of joey + neil fauerso's "dig three tunnels" at testsite, austin tx
conflict of interest β€’ review of kate mcintosh's "in many hands" at fusebox festival, austin tx
nomadic press β€’ review of "superior packets" by susie timmons (wave books)


"the center" β€’ ZEBRA poetry-film festival (2018), triquarterly (2019)
"body with no windows" β€’ triquarterly, 2017
"decisiveness & pleasure" β€’ 2017 digital writers' festival
"gag" β€’ reality beach, 2017
"giraffe" β€’ ZEBRA poetry-film festival, 2014
"an illustrated guide to the post-apocalypse" β€’ 2013
"ars poetica" β€’ 2014

booking, commissions, cv, etc.