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A Reading by Carole Maso
The 2018 Berlin Prize winner reads from her work
Monday, March 2, 2020
2:30 pm – 3:30 pm EST/GMT-5
Campus Center, Weis Cinema
 [A Reading by Carole Maso] On Monday, March 2, at 2:30 p.m., in Weis Cinema, Carole Maso reads from her work. Presented by the Innovative Contemporary Fiction Reading Series, and introduced by Bard literature professor and novelist Bradford Morrow, the reading is free and open to the public; no tickets or reservations are required.

A contemporary American novelist and essayist known for her experimental, poetic, and fragmentary narratives, Carole Maso is the award–winning author of ten books, beginning with the novel Ghost Dance, published in 1986. In 1990, Maso published The Art Lover, followed by AVA (1993), The American Woman in the Chinese Hat (1994), and a book a short stories, Aureole: An Erotic Sequence (1996). Defiance, perhaps her best-known work, appeared in 1998, depicting a Harvard professor who is sentenced to death for the murder of her two students. In 2000, Maso published the essay collection Break Every Rule: Essays on Language, Longing, and Moments of Desire and The Room Lit by Roses: A Journal of Pregnancy and Birth. She is also author of the biographical meditation Beauty is Convulsive: The Passion of Frida Kahlo (2002) and the novel Mother and Child (2012). She currently is at work on a novel, The Bay of Angels.

Carole Maso is a professor of literary arts at Brown University, where she has been teaching since 1995. She has previously held positions at Columbia University, George Washington University, and Illinois State University. She is the recipient of many awards, including an NEA Fellowship and a Lannan Literary Award for fiction. She is the recipient of the 2018 Berlin Prize.
 
PRAISE FOR CAROLE MASO

“Maso often seems to be embroidering silk onto water; in the wake of her sensory pull, words thread along forceful yet unfixable patterns. . . . [An] extraordinary level of craft.” New York Times

“Maso is a writer of such power and originality that the reader is carried away with her, far beyond the usual limits of the novel. . . . Maso’s voice is all her own: simultaneously cerebral and sensual, violently romantic, and insistently woman-centered.” San Francisco Chronicle

“Carole Maso is a writer who succeeds brilliantly at relaying the fragile notion of life’s enigma. . . . She tries to capture something of life’s true rhythms, to express the extreme, the fleeting, the fugitive states that hover at the outermost boundaries of speech.” —Los Angeles Times Book Review

“Maso is not content to muse on the relationship between life and art; she brings to life a ‘bombardment of images and sounds,’ fashioning a pattern of astonishing complexity and beauty. The tough-mindedness, originality, and wit of her perceptions are intoxicating.” Publishers Weekly

Contact: Nicole Nyhan, [email protected], 845-758-7054

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In Print

Vol. 79
Onword
Fall 2022
Edited by Bradford Morrow

Online

November 30, 2022
Alice was actually a labeler and not a pickler. Still, she knew what Mr. H’s picklers did was nothing like her grandmother’s pickling, sweaty and stained and clouded by hot vinegar steam, shoveling already rotting vegetables into their boiling bath like some kind of unbelieving prayer. Everyone winced when eating what came out of her grandmother’s pickle jars. Mr. H’s were made of faceted clear glass, and the bobbing pickles inside were a bright, inviting candy-green. To look at one was to feel it snip crisply between your teeth, to set your mouth watering. Alice was midwife to that salivary burst. That was what she dressed up for. Today it mattered even more than usual.
November 23, 2022
I SAW ALL THE STRANGENESS IMMEDIATELY,

I saw it in this very particular slide of swell’s,
the sylphspun silk of the sylph, she sideways,
her garage is paradise in masque, her sweep
is saturn, szturn im sturm & string, install’d
in the area’s traverse. he follows that lucky
old sun, the gesture of her lining and loose
knot, and pulls herself through burns and a
dry wash and some soft lead. in discorporate
minerals, or in the sharing of the black sleek
sharing with the wild man in her soft shoes,
all over the panes of the various sworld and
out into the superhighway of bywater, hard
by marigny. to flow through one to another
indetermination, the posture of their brush
must be immaculate fray, all them, all they.
November 16, 2022
Day Book

One wants to grasp a latch.
The broken star, the cellophane.
One suffers if untethered from
the pain that brought a lock.
Across the way the husband tends his teeth.
The wife redresses, parted from her paper.
To emblemize, to separate the word
grief reaches. Grief reaches, unseduced.