Vincent Katz

Photograph by Vivien Bittencourt

 Vincent Katz Katz is a poet, translator, critic, and curator. The
author of Fantastic Caryatids (Blaze Vox, 2017), a collaboration
with Anne Waldman, Southness (Lunar Chandelier Press, 2017),

 Swimming Home (Nightboat Books, 2015) and
The Complete Elegies of Sextus Propertius (Princeton University
Press, 2004), he is also the editor of Black Mountain College:
Experiment in Art
(MIT Press, 2002; reprinted 2013). He
is the curator of the "Readings in Contemporary Poetry"
series at Dia Chelsea and is editor of the forthcoming Readings in
Contemporary Poetry: 2010-2016
(DIA Foundation, dist. by Yale University
Press). Vincent Katz lives in New York City
and teaches at the Yale School of Art. Raphael Rubinstein
has characterized Katz as “A 21st-century flâneur whose
wanderings range from the sidewalks and subways of
New York City to the crowded beaches of Rio de Janeiro.”

Paul Falardeau has reviewed Southness by Vincent Katz in the Pacific Rim Review of Books, issue Twenty One. Falardeau states that   He compares Katz's language in Southness as like Basho ye tthe effect of Ktaz's measure "... is closer to a Satie piano composition."  Here's a link to this intriguing and extensive journal:
The writing in Southness is one of the points of a very interesting, recent conversation, "An Exchange with Vincent Katz",  documented on Thomas Fink's blog: Dichtung Yammer. Vincent Katz's elucidates his writing process and the insight into his frames of reference when he responds: 

"... there is such a thing as a plain style. It makes me think of Cicero’s     (and others’) taxonomies of rhetorical styles, in particular, the drier, more clipped, Attic style, versus the more florid, elaborate, Asiatic style. Thought of in these terms, the poems you cite might be termed Attic ... When I was writing poems like “Memory” and “Botanical,” as well as “Change,” in Southness, I was trying to come out of a phase in which I allowed myself to write poems in which I minimized conscious control, such as “Rapid Departures,” which was published in 2005 in a book by the same title.  Those poems, which maybe had their origin in poems like those in my book Pearl, published in 1998 but written in 1990-91, I allowed to be registers of crazily off-kilter senses of perspective, consciousness, time of day, global hemisphere even. Worn out from allowing such imbalance into my verse’s mind, I attempted to find a way to tamp it down. Simultaneously (in the late 1990s), I wanted to get away from the dailiness of a Frank O’Hara type poem into a poem that might be more controlled and, as I thought of it then, abstract. I had long been a reader of Robert Creeley’s poems, and I noticed how form played a major role in his work, structuring, but also limiting, obscuring or semi-obscuring thoughts at times, which created a less literal, more universal effect."

For the entire exchange and more conversations, go to