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  • Tisa Bryant is the author of Unexplained Presence (Leon Works, 2007; Wave Books, forthcoming), a collection of hybrid essays on black presences in film, literature and visual art. She is co-editor of the cross-referenced journal of narrative possibility, The Encyclopedia Project, and co-editor, with Ernest Hardy, of War Diaries, an anthology on black gay men’s desire and survival, published in 2010 by AIDS Project Los Angeles, and a finalist for a 2010 LAMBDA literary award. Her essays have appeared in exhibition catalogs for visual artists Laylah Ali, Jaime Cortez, Wura-Natasha Ogunji, Suné Woods and Cauleen Smith, and are anthologized in Letters to the Future: Black Experimental Women Writers, and in a catalogue of site-specific art from The New School. She has done numerous presentations of cinema essays, most recently at ALOUD's "School of Prince" event at the Los Angeles Public Library, and at "Speak Nearby," a symposium of text and performance inspired by Trinh T. Minh-ha. Tisa Bryant was a commissioned writer/researcher for Radio Imagination, Clockshop’s year-long Los Angeles celebration of science fiction writer Octavia Butler, in collaboration with the Huntington Library in Pasadena, which houses the Octavia E. Butler Papers. She is working on The Curator, a novel of Black female subjectivity and imagined cinema. Residual, a meditation on grief, longing, desire and archival research, is forthcoming from Nightboat Books.

    Photo Credit: Paul Sepuya

  • Tisa Bryant, Lynell George, Robin Coste Lewis, and Fred Moten premiere new works of poetry and creative nonfiction under the stars in the Clockshop courtyard:

    Ep 31 of “The People” podcast with Douglas Kearney & Tisa Bryant:

    Tisa Bryant on panel “Radio Imagination: Octavia E. Butler’s Los Angeles”:

    CITY LIGHTS LIVE! with Douglas Kearney and Tisa Bryant:

    Boog City Festival - Race and Poetry: Integrating the Experimental at Unnameable Books:

  • Reviews

    For this brilliant debut, Bryant narrates the movements of peripheral African-American characters in film and other media—characters who seem to be there innocuously, as in Stephen Frears's Sammy & Rosie Get Laid or François Ozon's 8 Femmes—but end up loaded with multiple, conflicting meanings.
    Publishers Weekly

    Her stories trace the ways in which black subjectivity is distributed or denied within pictures and plots, between viewers and artworks and artists, and in acts of conversation and debate, of queer identification or refusal to see. What is most remarkable is how Bryant transforms these elisions into acts of imagination, restoring or reconfiguring partially glimpsed subjects via fleet and surprising sentences that traverse the distance between representation and meaning.
    San Francisco Bay Guardian

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