Bio (full)

Anna Moschovakis is a writer, translator and editor with an interest in crossing modes of poetry, narrative, philosophy, and documentary prose in works that explore uncertainty, failure, power, and connection. She’s the author of three books, including You and Three Others Are Approaching a Lake (Coffee House 2011, winner of the James Laughlin Award) and They and We Will Get Into Trouble for This (Coffee House 2016, a “Best of ” pick in BOMB, Entropy, and The New Yorker), and more than a dozen chapbooks. Her translations include novels by Annie Ernaux, Albert Cossery, and (with Christine Schwartz-Hartley) Marcelle Sauvageot; poetry by Samira Negrouche and Marcel Proust; and a book of interviews with the filmmaker Robert Bresson (Bresson on Bresson, NYRB 2017).  She has taught at Baltimore City Community College and Queens College, and is currently a core faculty member and adjunct professor in MFA programs at Pratt Institute and Bard College. She has received grants from the Howard Foundation, New York Foundation for the Arts and The Fund for Poetry, and residency fellowships from Headlands Center for the Arts, Writers OMI and The Edward Albee Foundation. In 2009 she was the recipient of an apexart “outbound” residency to Addis Ababa, Ethiopia, and in 2016 she was Holloway Lecturer in the Practice of Poetry at U.C. Berkeley. She is a longtime member of the Brooklyn-based publishing collective Ugly Duckling Presse, and she co-founded Bushel, a collectively run art and community space in Delhi, NY, near where she primarily lives. Her first novel, Eleanor, or The Rejection of the Progress of Love, will be published by Coffee House in summer 2018.

Writing in The Volta, MC Hyland notes in They and We Will Get Into Trouble for This “an especially lucid formulation of the problem of point of view for the avant-garde writer, or the first-world writer, or the writer working from a position of educational, social, or economic privilege. By describing the limits inscribed by this position rather than naturalizing its effects, Moschovakis suggests the possibility of an ethics of perceptual clarity.”