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nicodemus nicoludis

@mayascoffsky

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poet / writer / PhDing @thegraduatecenter
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🌎🍃I’m super happy to announce that my first book, Mulitcene, is coming out later out this fall from @arteidolia!🍃🌎 It’s about and for the earth, for everyone who lives on it and thru it, and for my friends. I hope you might read it.☄️ Thanks to everyone who read drafts of these poems, published them, encouraged me, bought me drinks. Launch & pre-order coming soon. Stay tuned! … “In a twisting and kinetic poetry, Multicene is a work of processing, of working through the various locations, affects, and experiences that materialize our overlapping interactions with climate change. It forms a poetry about a living and dying world, a planet of extraction and joy, and the earth that feels all of that. The circulation of experience and language is tangled into a work that is both exacting and slippery across every poem where the weather, landscapes, coal mines, idling cars, and flowers shape the world of Nicodemus’s work, and in Multicene we see the opening of new ways of encountering our climate presents, pasts, and futures.” by @mayascoffsky
New poetry in the latest @ghostharmonics 🪨🍃🌊 by @mayascoffsky
“The coming of the Messiah to this troubled scene must be in the form of public demand for immediate truce and conciliation between the opposite forces — miner and operator.” by @mayascoffsky
✍︎︎ We look forward to sharing our books with you. ✍︎︎ by @mayascoffsky
by @mayascoffsky
In poetry’s effort to communicate, it must always deal in the dirty commodity of the word. It trades and hedges, extracts and reproduces so that between Nerval’s myth and Arjoon’s mythic register, we find a kinship built from the shared, but uneasy and slippery, impulse to universality. There is a sense in which myth might trend toward the obscure, the abstracting, that it takes the concrete to the ephemeral sphere of cultic knowledge and aura. Of course, modernism’s impulse toward the seemingly unintelligible was a legible reaction and a wrestling with the speeding up and intricate reshufflings of life. But what myth injects in Arjoon is not the continuance of a kind of narrative which imbues culture with a deeper form of import or meaning; rather, it is that which breaks from this lineage, creating gaps between the moments when obscured reality becomes visible in reflection of that which is seemingly legible, myth itself, which Arjoon winks toward when we writes “I was marked by History. / It marked me with its irritated tongue,…” in the poem “Antlers.” - Nicodemus Nicoludis, Bartering with Language: On Terrence Arjoon’s The Disinherited - Terrence Arjoon | The Disinherited  | Ugly Ducking Presse | November 2025 | 88 pgs by @mayascoffsky
My review of @office_for_soft_architecture’s RIVERWORK in the Spring 🌸 issue of @bombmag by @mayascoffsky
DAY DAY [nye collaborative chapbook w liz janoff @lizjanoff] by @mayascoffsky
belonging by @mayascoffsky
♡︎ Thanks for everything ♡︎ by @mayascoffsky
I’ve been trying to read Blanchot for years now- reading a few pages and getting distracted/overwhelmed. I imagine this might be a common feeling, so @mayascoffsky and I are organizing a monthly book club to read and discuss Blanchot: 1 book of fiction of 1 book of theory a month. This month we’ll be reading Thomas the Obscure and The Writing of the Disaster, and we’ll be at Dear Friend in Bed Stuy. Email thewritingofthedisaster@gmail.com for more info! by @mayascoffsky
reading sunday 5/25 @moodringnyc + poem inspiration by @mayascoffsky

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