Blackspace: On the Poetics of an Afrofuture. Black Ocean, October 2020.

The Sound of Rioting: Twelve Notes on Lawrence Andrews.” Electronic Arts Intermix, June 2021.

I Will Always Be That.” Ploughshares, October 2020.

Martine Syms, Incense, Sweaters, and Ice.” alreadyfelt: Poems in Revolt and Bounty, October 2020.

Gmail – Re/ (e)Missive.” Martha’s Quarterly, No. 1: Mouth to Mouth, May 2020.

What Does the Afrofuture Say? w/ An Duplan.” The Afrofuture Strategies Institute, May 2020.

Anaïs Duplan: An Interview by Madison McCartha.” Action Books, April 2020.

I Held the Truth in My Hands.” The Continental Review, April 2020.

Creating Art While Empowering Artists.” University of Iowa, March 2020.

For Alain.” The Yale Review, January 2020.

Leah Gilliam, Sapphire and the Slave Girl, 1995, 18 mins. 20 secs.” and four other poems. Virginia Quarterly Review, December 2019.

Silence in Mount Carmel & the Blood of Parnassus and Take This Stallion.” Ploughshares, October 2019.

Black curators discuss ‘insiders and outsiders’ in the art world.” Daily Iowan, October 2019.

The Practice of Poetry: A Tool for Conducting Emotional Research.” Poet’s House, July 2019.

Anaïs Duplan interviewed by xtian w. NYC Trans Oral History Project, June 2019.

Two poems from Mount Carmel and the Blood of Parnassus. Windfall Room, June 2019.

Eileen Myles, Precious Okoyomon and Anaïs Duplan perform for the Asylum Seeker Advocacy Project.NOWNESS, May 2019.

Why Does It Feel Natural to Want to Be Stable for the Lady in the Mirror?Daata Editions, May 2019.

Making Use of the Mundane: Black Performance and Becoming.No Tokens Journal, April 2019.

Four poems. Callaloo, Volume 40, Number 3.

Martine Syms, My Only Idol Is Reality, 2007, 7:06” and other poems. Paperbag, December 2018.

Tony Cokes, 5%, 2001, 10:00” and “Ephraim Asili, Many Thousands Gone, 2014, 7:38.The Paris Review, November 2018.

Fear and Loathing (Comin’ and Goin’).Los Angeles Review of Books, November 2018.

Detroit Make Some Noise for Human Error” and other poems. Omniverse, November 2018.


9 Poems/The Lovers. Belladonna* Collaborative, October 2018.

Order via Belladonna* Collaborative.

New Black Music Is This.” Curlew Quarterly, Issue 4, September 2018.

Where Should I Look? an audio guide for the High Line [transcript].” The High Line, August 2018.

Communication after Refusal: The Turn to Love and Polyvocality.MICE Magazine, June 2018.

Wundmale Christi (Wounds of Christ).The Map Is Not the Territory, June 2018.

Black ‘N’ Relaxed II.BathHouse Journal, May 2018.

Why Does It Feel Natural to Want to Be Stable for the Lady in the Mirror?Vassar Review, April 2018.

Reading at Notre Dame University. Notre Dame University, April 2018.

More than a Manifesto: The Poet’s Essay. Columbia University, March 2018.

[I wanted you to cry with me].” Brooklyn Poets, February 2018.

Ode to the Happy Negro Hugging the Flag in Robert Colescott’s ‘George Washington Carver Crossing the Delaware.‘” Academy of American Poets, February 2018.

“When the Play Ends, We Have Learned Nothing about the Protagonist.” Bettering American Poetry (Bettering Books, Fall 2017).

Read an interview with Bettering American Poetry here.

How Fatima Al Qadiri Uses the Internet to Create Multidisciplinary Protest Poetry.Complex Magazine, December 2017.

Listings Project Artist Features: Initiative to Re-imagine New Futures. Listings Project, October 2017.

Poet of the Week: Anaïs Duplan. Brooklyn Poets, October 2017.

Five Things with Anaïs Duplan. Wildness, October 2017.

Showing a Boy Wearing an Oxygen Mask.Apogee, October 2017.

Mount Carmel Full Covers Web (White Spine) (1)

Mount Carmel & the Blood of Parnassus. Monster House Press, September 2017.

Monster House Press has shut down! For copies of Mount Carmel, contact Anaïs directly. You can also read a review of Mount Carmel in Mask Magazine.


On Anaïs Duplan’s Mount Carmel and the Blood of Parnassus. The Coil, September 2017.

Three poems from Mount Carmel and the Blood of Parnassus. New York Tyrant, August 2017.


[At the school dances, black and white girls shook on the floor] and other poems from Mount Carmel and the Blood of Parnassus. Bennington Review, June 2017.

Upon Entering the Waiting Room, I Am Hunger.Washington Square Review, May 2017.

Actress: ‘My Saving Grace is I Always Try to Put Beauty in My Music.‘” VICE, April 2017.

I Think That I Can Love It” (video poem). Index Art Center, April 2017.

Cocaine Barbara Plays Whack-a-Mole with Her Heart.New York Tyrant, March 2017.

Moor Mother Explains Black Quantum Futurism.VICE, March 2017.

Seven poems from Mount Carmel and the Blood of Parnassus. The Elephants, February 2017.

Anaïs Duplan on “The Room Is Not Cold & It Is Not Dark.” Poetry Society of America, February 2017.

Five poems. Elderly, January 2017.

A POEM BY ANAÏS DUPLAN.Daata Editions, December 2016.

‘I Know This Is No Longer Sustainable, Etc.’Redivider, Fall 2016.

Whose America?: A Conversation with Hanif Willis-Abdurraqib on poetry after Trump.Ploughshares, November 2016

What Does Your Liberation Look Like?: In Conversation with Liz Mputu and Justin Phillip Reed.Ploughshares, November 2016.

One poem from Mount Carmel and the Blood of ParnassusAcademy of American Poets, November 2016.

Reading for Segue Series. Zinc Bar, October 2016.

Six-Foot Rosemary.FENCE, October 2016.

Anaïs Duplan interviewed by Kaveh Akbar. Divedapper, October 2016.

How to Find Your Self (and How to Kill It): A Conversation with Suzi Analogue and Nathaniel Mackey on Black Music.Ploughshares, October 2016.

With Late Capitalism Hovering the Background: In Conversation with Wendy Xu and Jesse Hlebo.Ploughshares, September 2016.

The Body is Alive and Awake, the Spirit a Decision Problem.Literary Hub, August 2016.

Things that WIRED Magazine Doesn’t Talk About: In Conversation with francine j. harris and Devin Kenny.Ploughshares, August 2016.

A Body that is Ultra-Body: In Conversation with Fred Moten and Elysia Crampton.Ploughshares, July 2016.

“Hello Are You Like Me.” 111O/9, June 2016.

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Take This Stallion. Brooklyn Arts Press, May 2016.

Click here to order. You can read a review of Take This Stallion from the Center for Literary Publishing.

Poet delves into a Civil War spy’s hidden history. PBS News Hour, April 2016.

An Ode to the Black Brigade of Cincinnati (1862)” and “When the Play Ends, We Have Learned Nothing About the Protagonist.Boston Review, April 2016.

The Grammatical Number,” “Hunger (Motivational State),”
Where O Where Is the Joy of Fear,” and “Elegies for Living People (#2)Moko Magazine, March 2016.

My Heart Like a Needle Ever True Turns to the Maid of Ebon Hue.The Journal, March 2016.

Review: Fatima Al Qadiri, Brute.No Fear of Pop, March 2016.

The Afrofuture, for the Time/Being: Traveling Black to the Future.Asymptote Journal, February 2016.

Try Not to Smile (When You’re Not Getting Your Picture Taken).Jellyfish Mag, January 2016.

The Afrofuture, for the Time/Being: In Orbit with niv Acosta.Asymptote Journal, January 2016.

Interview: Jamal Moss (Hieroglyphic Being).No Fear of Pop, 2015.

What Is the Doctrine of Eternal Recurrence,” “On How to Win with or without Trying,” and “Rule Number One No Rules.Horse Less Review, 2015.

The Afrofuture, for the Time/Being: In Conversation with E. Jane.Asymptote Journal, 2015.

“Premiere: Brother Ah – ‘Nuba.'” Decoder, 2015.

Three Cheers for All the Babies Born Under the George Washington Bridge,” “WHY WOULD YOU EVER GO TO A POOL PARTY ANYWAY,” and “I FELT LIKE A TRAFFIC LIGHT AS SOON AS I GOT INSIDE YOU.Dreginald, 2015.

The Afrofuture, for the Time/Being: Mat Randol.Asymptote, 2015.

“On Chance & Randomness: Synth Talk with Phil Ventre.” Decoder, 2015.

Opening My Mouth, Etc., and a Real Louder Crash.Ekphrasis, 2015.

M. Learns to Pray, with W.Berfrois, 2015.

‘On a Scale of 1-10, How ‘Loving’ Do You Feel?‘” Hyperallergic, 2015.

Francine Thirteen – “Lady Mary, The Fire/Pars Una.” No Fear of Pop, 2015.

Review: Good Moon Deer – Dot.” No Fear of Pop, 2015.

The War of Parasites” and “The Fight or Flight Response.” TENDE RLOIN, 2015.

“On Chance and Randomness: Who is Sir Thelonious?” Decoder, 2015.

“On Chance and Randomness: Improvising with Mal Devisa.” Decoder, 2015.

“On Chance and Randomness: Sketches for Albinos and Bastardgeist.” Decoder, 2015.

W., at Restaurant with M.[PANK], 2015.

“Tim Cosner, “DEADTECH/MODERNHOMES.” Decoder, 2015.

Ozy’s Distant Present (exclusive).” No Fear of Pop, 2015.

“It Sounds Cheap: An Interview with Kai Hugo on Palmbomen II.” Decoder, 2015.

Interview: Hama.” No Fear of Pop, 2015.

“Blood: A Look Inside REIGHNBEAU’S New Album.” Decoder, 2015.

Interview: Jlin.” No Fear of Pop, 2015.

Jerry Paper: Visions of Ecstasy.” No Fear of Pop, 2015.

The Flying Phalangers,” “Tat Tvam Asi,” “An Account of a Child Born Alive without a Brain and the Observables in It on Dissection,” and “The Invalid.Souvenir, 2015.

The Spacesuits: Finding Paradise with Karneef.” No Fear of Pop, 2015.

“ManifeStation Goes to Iceland.” The Conversant, 2015.

“ManifeStation 2: Anaïs Duplan and Kione Kochi.” The Conversant, 2015.

“ManifeStation: Anaïs Duplan and Kione Kochi.” The Conversant, 2015.

A Fledgling Is a Young Bird That Has Its Feathers and Is Learning to Fly.” Birdfeast Magazine, 2015.

“I Am an Only Child (Am I Only a Child).” Phantom Limb, 2015.

A Sun That Will Burn Out.” Berfrois, 2015.

“Notes on Being a Permanent Resident Alien and Other Tomfooleries.” Blackberry: A Magazine, 2014.

Joseph P. Wood’s Broken Cage.” [PANK], 2014.