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Urayoán Noel is a Puerto Rican poet, critic, translator, and performer who teaches at New York University and at Stetson University’s MFA of the Americas. He is the author of the critical study In Visible Movement: Nuyorican Poetry from the Sixties to Slam (University of Iowa Press, 2014), winner of the LASA Latino Studies Book Award, and of eight books of poetry, including Boringkén (Ediciones Callejón, 2008), named a Book of the Year by El Nuevo Día, and Transversal (University of Arizona Press, 2021), named a Book of the Year by the New York Public Library Book and also longlisted for the PEN Open Book Award. Noel’s translations include No Budu Please by Wingston González (Ugly Duckling Presse, 2018) and adjacent islands by Nicole Cecilia Delgado (UDP/DoubleCross Press/La Impresora, 2022). He has been a finalist for the National Translation Award, the Best Translated Book Award, the International Latino Book Awards, the National Poetry Series Paz Prize for Poetry, and the Modern Language Association book prizes, and his other honors include a National Books Critics Circle Small Press Highlights selection and fellowships from the Howard Foundation and the Ford Foundation. Noel’s work has been exhibited at the Museum of the City of New York and the Museo de Arte de Puerto Rico and has been published in The New York Times, Poetry, and Google Arts & Culture. His international performances include Poesiefestival Berlin, Barcelona Poesia, and the Toronto Biennial of Art, and he has been both fellow and faculty at CantoMundo and the Macondo Writers Workshop. Originally from Río Piedras, Puerto Rico, Urayoán Noel lives in the Bronx and is a translator for the Puerto Rican Literature Project (PLPR) and an editorial advisor for the Latino Poetry initiative (Library of America). He serves on the board of the Clemente Soto Vélez Cultural and Educational Center.  

 

Urayoán Noel es poeta, crítico, traductor y performer puertorriqueño radicado en Nueva York desde 1999. Ha publicado el estudio crítico In Visible Movement: Nuyorican Poetry from the Sixties to Slam (Editorial de la Universidad de Iowa, 2014), ganador del LASA Latino Studies Book Prize, y ocho libros de poesía, entre ellos Boringkén (Ediciones Callejón, 2008), nombrado uno de Libros del Año por El Nuevo Día, y Transversal (Editorial de la Universidad de Arizona, 2021), nombrado uno de Libros del Año por la Biblioteca Pública de Nueva York (NYPL) y elegido semifinalista para el PEN Open Book Award. Entre sus traducciones figuran ILUSOS de Edwin Torres (Atarraya Cartonera, 2010) e islas adyacentes de Nicole Cecilia Delgado (Ugly Duckling Presse/DoubleCross Press/La Impresora, 2022). Noel ha sido finalista para el National Translation Award, el Best Translated Book Award, los International Latino Book Awards, el Premio Paz de Poesía de la National Poetry Series y los premios de libros de la Modern Language Association, y ha sido becario de las fundaciones Howard y Ford. Su obra ha sido expuesta en el Museo de la Ciudad de Nueva York y el Museo de Arte de Puerto Rico y ha sido publicada en The New York Times, Poetry, Google Arts & Culture y en antologías como El canon abierto: última poesía en español, 1970–1985 (Visor) y Malditos latinos. Malditos sudacas. Poesía latinoamericana Made in USA (El billar de Lucrecia). Entre sus performances internacionales figuran el Poesiefestival Berlin, Barcelona Poesia y la Bienal de Arte de Toronto y ha sido tallerista y becario del Macondo Writers Workshop y CantoMundo. Oriundo de Río Piedras, Puerto Rico, Urayoán Noel vive en el Bronx y enseña en el MFA de Escritura Creativa en Español de New York University así como en el MFA of the Americas de Stetson University. Es asesor editorial de la iniciativa Latino Poetry (Library of America) y forma parte del equipo de traducción del Proyecto de la literatura puertorriqueña (PLPR) y de la junta directiva del Centro Cultural y Educativo Clemente Soto Vélez.

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]