Skip to content

about

Urayoán Noel is the author of eight books of poetry, including Transversal and Buzzing Hemisphere/Rumor Hemisférico, both from the University of Arizona Press. He has also published the critical study In Visible Movement: Nuyorican Poetry from the Sixties to Slam (University of Iowa Press), winner of the LASA Latino Studies Book Prize. As a translator of Latin American poetry, he has been a finalist for the National Translation Award and the Best Translated Book Award. His international performances include Poesiefestival Berlin, Barcelona Poesia, and the Toronto Biennial of Art, and his work has been exhibited at the Museum of the City of New York and the Museo de Arte de Puerto Rico. Originally from Río Piedras, Puerto Rico, Noel lives in the Bronx and teaches at New York University.

Urayoán Noel es el autor de ocho libros de poesía, entre ellos Transversal y Buzzing Hemisphere/Rumor Hemisférico, ambos con la Editorial de la Universidad de Arizona. También ha publicado el estudio crítico In Visible Movement: Nuyorican Poetry from the Sixties to Slam (Editorial de la Universidad de Iowa), ganador del LASA Latino Studies Book Prize. Como traductor de poesía latinoamericana, ha sido finalista para el National Translation Award y el Best Translated Book Award. Entre sus performances internacionales figuran el Poesiefestival Berlin, Barcelona Poesia, y la Toronto Biennial of Art, y su obra ha sido expuesta en el Museum of the City of New York y el Museo de Arte de Puerto Rico. Oriundo de Río Piedras, Puerto Rico, Noel vive en el Bronx y enseña en New York University.

Long Bio

Urayoán Noel is the author of eight books of poetry, including Buzzing Hemisphere/Rumor Hemisférico (2015) and Transversal (2021), both with the University of Arizona Press. He received the LASA Latino Studies Book Prize and an MLA Honorable Mention for his critical study In Visible Movement: Nuyorican Poetry from the Sixties to Slam (University of Iowa Press, 2014). His translations include no budu please by Wingston González (Ugly Duckling Presse, 2018) and Architecture of Dispersed Life: Selected Poetry by Pablo de Rokha (Shearsman Books, 2018), which was a finalist for the National Translation Award. He also translated the concrete poems in Amanda Berenguer’s Materia Prima (Ugly Duckling Presse, 2019), which was a finalist for the Best Translated Book Award. Noel has been a fellow of the Ford Foundation, the Howard Foundation, the Schomburg Center, and CantoMundo, and has served on the latter’s steering committee. His international performances include Poesiefestival Berlin, Barcelona Poesia, Enclave Global (México), and the Toronto Biennial of Art, and his work has been exhibited at the Museum of the City of New York, the Museo de Arte de Puerto Rico, and Taller Boricua. He has been a Macondo fellow in nonfiction, and his “diasporous prose” has been published in Fantastic Floridas and The New York Times. Originally from Río Piedras, Puerto Rico, Noel earned his B.A. at the University of Puerto Rico, Río Piedras, his M.A. at Stanford University, and his Ph.D. at New York University, where he is currently an associate professor of English and Spanish and Portuguese and affiliated with The Latinx Project. Noel also teaches at Stetson University’s MFA of the Americas and has previously taught at SUNY Albany, Hunter College, and CantoMundo. A contributing editor of Obsidian: Literature & Arts in the African Diaspora, NACLA Report on the Americas, and IntervenXions, Urayoán Noel lives in the South Bronx and serves on the board of the Clemente Soto Vélez Cultural and Educational Center. 

Welcome to the virtual coordinates of Urayoán Noel — Puerto Rican poet, performer, professor, and polemicist.

The moniker “stateless” refers to the poet’s flux between island and mainland, and between textual forms (print, body, web). Of course, it also alludes to the ultimate “statelessness” of identity, and to a poetics of unstatement by turns deterritorialized and dys/u/topian in its damaged/unmanageable bodies.

A stateless poetics is never quite incorporated, but always in corps orated, non-mono-aural, and attuned to modes of resistant lingurality. Keep them herd melodies, give us those unstated ones. Let others blog the slog, we’ll unfurl #unstatements in the digital fog.’

. . .

delighting and confounding the enlightened masses since 1976

[from the old site]