Faculty/Staff Directory

Jen Hofer

Adjunct Faculty, School of Critical Studies


Phone: 661.255.1050

Fax: 661.255.0177

Room: BB #4 C

Teaching interests: Poetics; Documentary Strategies; Tiny Press Practices; Translation and Multilingual Writing

Jen Hofer is a poet, translator, bookmaker, social justice interpreter, public letter-writer, knitter, book-maker, urban cyclist, and co-founder (with John Pluecker) of the language justice and literary activism collaborative Antena, which recently had a large-scale installation at the Blaffer Art Museum at University of Houston. Her latest translations include the chapbook En las maravillas/In Wonder (Libros Antena/Antena Books, 2012); Ivory Black, a translation of Negro marfil by Myriam Moscona (Les Figues Press 2011, winner of translation prizes from the Academy of American Poets and PEN); sexoPUROsexoVELOZ and Septiembre, a translation from Dolores Dorantes by Dolores Dorantes (Counterpath Press and Kenning Editions, 2008); and lip wolf, a translation of Laura Solórzano’s lobo de labio (Action Books, 2007). She is currently working on new translations of work by Mexican writers Dolores Dorantes, Cristina Rivera Garza and Laura Solórzano, and Uruguayan writer Virginia Lucas. Her most recently poetry books include the chapbooks The Missing Link (Insert Blanc Press, 2014), all at once and one at a time (Belladonna Chaplet Series, 2013), and Front Page News (Little Red Leaves Textile Editions, 2013), and a book-length sequence of anti-war poem-manifestos, one (Palm Press, 2009). Her latest homemade books include Denotative Skies (DIY edition, 2013), we do not see what we do not see (DIY edition, 2013), When We Said This Was A Space, We Meant We Are People (collaboration with John Pluecker, Libros Antena/Antena Books, 2013), and Shroud: A Piece Of Fabric Sewn To A Piece Of Paper By Way Of A Map (collaboration with Jill Magi, DIY edition, 2013). Her visual-textual work can be found online at AlligatorzineThe Drunken Boat, and Public Access, and in Exhibit Hall 1 at the Center for Land Use Interpretation’s Wendover site. Her poems, essays, and translations are available from a range of small independent presses, including Action Books, Atelos, Belladonna, Counterpath Press, Insert Press, Kenning Editions, Litmus Press, Little Red Leaves (Textile Series), Palm Press, Subpress, and Ugly Duckling Presse. She has received grants from the City of Los Angeles Department of Cultural Affairs, the Cynthia Woods Mitchell Center for the Arts, Kindle Project, and the NEA. In addition to teaching poetics in the MFA Writing Program, Jen teaches in the Graduate Writing Program at Otis College, is on the editorial board of Litmus Press, and works with Antena Los Ángeles doing language justice advocacy and social justice interpreting locally in Los Angeles.


•    Antena’s website
•    Interviewed by Caleb Beckwith in The Conversant (includes a video tour of Antena’s installation  at Blaffer Art Museum)
•    Antena interviewed by Arts+CultureTX
•    Interviewed by Momo Chang at National Interpreter Action Network
•    Interviewed by Joshua Marie Wilkinson at The Pleistocene
•    Essay on One on Jill Magi’s Blog
•    Review of One in Zoland Poetry
•    Review of lip wolf in Harp & Altar
•    Review of "going, going" in Galatea Resurrects
•    Review of sexoPUROsexoVELOZ in Jacket

Recent Publications

•    Antena’s “Manifesto for Discomfortable Writing” on Floor Journal
•    Posts on Harriet the Blog
•    Poem in BOMB Magazine
•    Process notes in Pocket Notes
•    Reading from Estilo, with Mexican poet Dolores Dorantes, 2013
•    When We Said This Was A Space, We Meant We Are People, documenting Antena @ Project Row Houses on The Conversant
•    Commentaries on Jacket2
•    One week from "daily news," Alligatorzine
•    "Deep Horizon, Deep Water," collaboration with visual artist Hillary Mushkin
•    Reading from Ivory Black, a translation of Negro marfil by Mexican poet Myriam Moscona, 2011
•    Article on translation in The Journal of Aesthetics and Protest

Praise for Jen Hofer

"Jen Hofer is among the best translators of Mexican poetry working today, not only for what she brings to the page, but also for what she doesn’t. Hofer does not meddle. She does not seek to arrest control of the poem—and her contribution, therefore, is indispensable." - Jason Humpf, Harp & Altar

"Myriam Moscona's Negro Marfil, translated by Jen Hofer, is a small miracle of writing, translation, book design, and graphic art, in part because it sets all these modes of writing and making in dialogue, in motion. The book pushes toward—Moscona/Hofer would write "burns" toward—a kind of productive, process-based dissonance, where answers (materials) are transformed into questions, lines of flight, and alternate modes of inquiry. The pleasure of Ivory Black is in its shades and shadows, how it articulates writing as a gesture hovering between binaries, bodies, languages, modes of perception, cultures. In this way it's a book that is also always reflexively about translation, which is further suggested by Hofer's effulgent translator's afterword. We're lucky to have such a poet-translator working today, and lucky to have a press like Les Figues willing to extend translation's inherent excess and errancy to the book object itself." – Christian Hawkey, from the Judge’s Citation for the 2012 PEN Award for Poetry in Translation

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