{"id":18198,"date":"2021-11-09T12:43:55","date_gmt":"2021-11-09T13:43:55","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/?p=18198"},"modified":"2021-11-09T14:12:50","modified_gmt":"2021-11-09T14:12:50","slug":"montana-ray","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/montana-ray\/","title":{"rendered":"Montana Ray"},"content":{"rendered":"
\"\"Montana Ray is\u00a0a poet, translator, and scholar. Her\u00a0first book of visual poetry, (guns & butter),<\/a><\/i>\u00a0was described by Cathy Park Hong as a mix of \u201cApollinaire with Pam Grier.\u201d<\/div>\n
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She holds an MFA and a PhD in comparative literature from Columbia University, where she wrote her dissertation on settler longing in the work of Cuban and feminist artist Ana Mendieta.<\/div>\n
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Ray\u00a0is at work on\u00a0a narrative nonfiction book,\u00a0To thicken it<\/i>, which explores the relationship between “the South” and Central and South America through genealogies, monuments, and cultural performances; you can read her creative\u00a0nonfiction in\u00a0The Point<\/i>,\u00a0BOMB<\/i>,\u00a0<\/span>Narrative Magazine<\/i>, and\u00a0The New Inquiry.<\/i>\u00a0She also translates from Spanish and Portuguese mainly feminisms of the 1970s.<\/div>\n
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“Crazy Desire: chronicles of the AIDS ward,” Asymptote Magazine, 2020. Photograph by Leonora Calder\u00f3n.<\/figcaption><\/figure>\n<\/div>\n
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“Os Confederados: ‘Family and History’ in the Plantation Americas,” The Point, 2020.<\/figcaption><\/figure>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Montana Ray is\u00a0a poet, translator, and scholar. Her\u00a0first book of visual poetry, (guns & butter),\u00a0was described by Cathy Park Hong as a mix of \u201cApollinaire with Pam Grier.\u201d She holds an MFA and a PhD in comparative literature from Columbia University, where she wrote her dissertation on settler longing in the work of Cuban and […]<\/p>\n","protected":false},"author":3,"featured_media":16239,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-18198","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/18198","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=18198"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/18198\/revisions"}],"predecessor-version":[{"id":18225,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/18198\/revisions\/18225"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/16239"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=18198"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=18198"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=18198"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}