Publications, Honors, and Things

Sometimes I forget that this has been a prolific time. But it has been, and there’s a lot more coming this year and next, I hope. Along these lines, a few updates:

I have the honor of being invited to speak as a guest lecturer on October 26, 2021, in The MacMillan Institute’s online Poetry series. The other sessions are led by Frederick Turner (July 27), Sarah Cortez (August 31), and Dana Gioia (September 28). These sessions are open to the public (with registration in advance); the fee for each session is $10. I will be reciting and speaking about my poetry, the poetry of others, and a translation or two.

My translation of Gyula Jenei’s “Scissors” was published in the Summer 2021 issue (Volume 62, Issue 2) of The Massachusetts Review; this particular issue is devoted to poetry, and it’s beautiful! You can order a copy here.

My essay “Plessy v. Ferguson and the Dissenting Opinion in the Classroom” will be published by Literary Imagination in the fall and is already available online (to those who have access). This is part of a special issue, which you can order with a subscription to Literary Imagination (which includes membership in the ALSCW). I think it will also be available later as a single issue.

And now for a few reminders:

Gyula Jenei’s collection Always Different: Poems of Memory, in my English translation, will be published by Deep Vellum in February 2022—not so far away any more! You can pre-order a copy.

My poem “Apology in Seven Tongues” was published by The Satirist in June. Read it all the way through, if you do read it; it’s saying something different from what it might seem to be saying at first. A reader wrote, “That’s really good. It takes seven unapologetic verses to get to the bottom of the event.” Another reader wrote, “F***ing gorgeous. Loved it.” And another: “Well, that is brilliant.”

My story “Immemorial” and my essay “I Signed to Protest the Blurring” are published in the wonderful inaugural issue of The Penny Truth / Krajcáros Igazság, Budapest’s Bilingual Literary Magazine. You can pick up a copy in Budapest or order one from Booksellers (just call them up).

A long, long heads-up: If all works out, in the spring of 2022 I will be hosting an online ALSCW event devoted to the Hungarian poet János Pilinszky and featuring two guests: the poet Csenger Kertai and the songwriter and musician Cz.K. Sebő (Sebestyén Czakó-Kuraly). I will interview them about Pilinszky, and then they will perform, from their own work, pieces that relate to Pilinszky in some way.

And speaking of Cz.K. Sebő, I learned a lot from recording a cello cover of his song “Out of Pressure” (from his 2015 EP The masked undressed). On July 29 I re-recorded the vocals; you can find the new video here. The Hungarian word for “cover” (in this context) is “feldolgozás,” which also means “working up,” “converting.” I think of musical covers as translations of a sort. If they sound just like the original, that can be impressive, but uninteresting. For me, the interesting part of covering someone’s music is seeing what it turns into, which reveals something about what it already is.

Speaking of musical covers, I have wonderful memories of covering Marcell Bajnai’s (and his band 1LIFE’s/Idea’s) song “Maradok Ember” on cello at Varga and at the Summer Institute in Dallas two years ago. And I have started working on a musical rendition of a Sándor Weöres sonnet.

Speaking of music, I put my unreleased 2001 EP O Octopus on Bandcamp and YouTube. Soon I expect to have it on Spotify as well.

And two new translation projects are underway: of poems by Csenger Kertai and stories by Sándor Jászberényi. More about these in good time!

With all of that, I am glad to have a few more weeks of summer break but am also looking forward to the new school year. There are so many things I want to do with my classes. I hope that we will have classes in person all year long, but no matter what happens, there will be a lot to do.

  • “To know that you can do better next time, unrecognizably better, and that there is no next time, and that it is a blessing there is not, there is a thought to be going on with.”

    —Samuel Beckett, Malone Dies

  • Always Different

  • ABOUT THE AUTHOR

     

    Diana Senechal is the author of Republic of Noise: The Loss of Solitude in Schools and Culture and the 2011 winner of the Hiett Prize in the Humanities, awarded by the Dallas Institute of Humanities and Culture. Her second book, Mind over Memes: Passive Listening, Toxic Talk, and Other Modern Language Follies, was published by Rowman & Littlefield in October 2018. In February 2022, Deep Vellum will publish her translation of Gyula Jenei's 2018 poetry collection Mindig Más.

    Since November 2017, she has been teaching English, American civilization, and British civilization at the Varga Katalin Gimnázium in Szolnok, Hungary. From 2011 to 2016, she helped shape and teach the philosophy program at Columbia Secondary School for Math, Science & Engineering in New York City. In 2014, she and her students founded the philosophy journal CONTRARIWISE, which now has international participation and readership. In 2020, at the Varga Katalin Gimnázium, she and her students released the first issue of the online literary journal Folyosó.

  • INTERVIEWS AND TALKS

    On April 26, 2016, Diana Senechal delivered her talk "Take Away the Takeaway (Including This One)" at TEDx Upper West Side.
     

    Here is a video from the Dallas Institute's 2015 Education Forum.  Also see the video "Hiett Prize Winners Discuss the Future of the Humanities." 

    On April 19–21, 2014, Diana Senechal took part in a discussion of solitude on BBC World Service's programme The Forum.  

    On February 22, 2013, Diana Senechal was interviewed by Leah Wescott, editor-in-chief of The Cronk of Higher Education. Here is the podcast.

  • ABOUT THIS BLOG

    All blog contents are copyright © Diana Senechal. Anything on this blog may be quoted with proper attribution. Comments are welcome.

    On this blog, Take Away the Takeaway, I discuss literature, music, education, and other things. Some of the pieces are satirical and assigned (for clarity) to the satire category.

    When I revise a piece substantially after posting it, I note this at the end. Minor corrections (e.g., of punctuation and spelling) may go unannounced.

    Speaking of imperfection, my other blog, Megfogalmazások, abounds with imperfect Hungarian.

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