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Mei-mei Berssenbrugge was born on 5 October, 1947 in Beiping, Republic of China, is an American poet. Discover Mei-mei Berssenbrugge's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 76 years old?

Popular As N/A
Occupation Poet
Age 76 years old
Zodiac Sign Libra
Born 5 October 1947
Birthday 5 October
Birthplace Beiping, Republic of China
Nationality China

We recommend you to check the complete list of Famous People born on 5 October. She is a member of famous poet with the age 76 years old group.

Mei-mei Berssenbrugge Height, Weight & Measurements

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Who Is Mei-mei Berssenbrugge's Husband?

Her husband is Richard Tuttle

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Husband Richard Tuttle
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Children Martha Tuttle

Mei-mei Berssenbrugge Net Worth

Her net worth has been growing significantly in 2023-2024. So, how much is Mei-mei Berssenbrugge worth at the age of 76 years old? Mei-mei Berssenbrugge’s income source is mostly from being a successful poet. She is from China. We have estimated Mei-mei Berssenbrugge's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Source of Income poet

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Timeline

1947

Mei-mei Berssenbrugge (born October 5, 1947, in Beijing, China) is a contemporary poet.

Winner of two American Book Awards, her work is often associated with the Language School, the poetry of the New York School, phenomenology, and visual art.

She is married to the painter Richard Tuttle, with whom she has frequently collaborated.

Berssenbrugge was born in Beijing to Chinese and Dutch-American parents, mother was an educated mathematician, and her American father, born of first-generation Dutch emigrants.

1969

She grew up near Boston, Massachusetts, and was educated starting at Barnard, then transferring to Reed, where she earned a B.A. in 1969.

1970

After receiving her degree, Berssenbrugge became active in the multicultural poetry movement of the 1970s, together with her friends Leslie Marmon Silko, and Ishmael Reed, with theater director Frank Chin, and political reformer Kathleen Chang.

Berssenbrugge became a teacher at the Institute of American Indian Arts in Santa Fe, New Mexico.

Traveling frequently to New York City, Berssenbrugge became engaged in the rich cultural flourishing of the abstract art movement, and was influenced by New York School poets John Ashbery, Barbara Guest, James Schuyler and Anne Waldman, and then the Language poets, including Charles Bernstein, as well as artist Susan Bee.

She later joined the contributing editorial board for the literary journal Conjunctions.

Berssenbrugge's poetry is known for its mix of philosophical meditation and personal experience, and for moving quickly between abstract language and the concrete particulars of immediate perception.

Her poems often contain subtle shifts of grammar and perspective, and Berssenbrugge often works with collage to produce unexpected juxtapositions.

Her work is also known for its exploration of the complexities of cultural and political identity, an interest informed by her own experience of cultural and linguistic displacement.

Fish Souls is Berssenbrugge's first published collection of poems.

1971

It was published by Greenwood Press in 1971.

Only 100 numbered copies were published.

Information about this volume is scarce.

Summits Move with the Tide, subtitled (on the cover of the second edition) Poems and a Play, is Berssenbrugge's second collection of poems.

1973

She attended Columbia University, completing her M.F.A. from Columbia in 1973, before settling in rural northern New Mexico.

1974

It was published by the Greenfield Review Press in 1974, and later in 1982.

The acknowledgments page indicates that some of the poems previously appeared in First Issue, Intro 3, East-West Journal, Cathedral, Ash Tree, Gidra, and Greenwood Press.

In contrast to her later books, most of the poems in the collection are short, with only a few carrying over to new pages.

Additionally, only two poems are broken into numbered stanzas, a format Berssenbrugge would use in later poems.

The poems in the collection are organized into four groups: three groups of poems, and one play, One, Two Cups.

The book contains the following poems:

Group 1: "Aegean"; "Finn Song to the Bear Ghosts"; "Bog"; "Book of the Dead, Prayer"; "El Bosco"; "Spirit"; "Hopi Basketweaver Song"; "Beetle Is Born, Lives ..."; "Los Sangre de Cristos"; "In Bhaudanath"; "Snow Mountains"; "Red Backs & Autumn Leaves ..."; and "Ghost".

Group 2: "Old Man Let's Go Fishing In ..."; "Travelling [sic] Through Your Country"; "Propeller Sleep"; "Fish & Swimmers & Lonely Birds ..."; "Spaces Are Death"; "The Second Moment"; "The Third Moment"; "Perpetual Motions"; "Leaving Your Country"; "The Old Know by Midsummer"; and "Abortion".

Group 3: "Written Before Easter in New York"; "Chronicle"; "Tracks"; "On the Winter Solstice"; "Blossom"; "Hudson Ice Floes"; "Poor Mouse"; "Sky"; and "March Wind".

Group 4: The play, One, Two Cups.

1982

Random Possession was published by I. Reed Books in 1982.

On the contents page the poems are separated spatially into five unnumbered groups (with only the first three listed on the contents page).

The pagination bears out the scheme, with one empty page between the groups.

The book contains the following poems:

Group 1: "Chronicle".

Group 2: "The Membrane"; "Rabbit, Hair, Leaf"; "On the Mountain with the Deer"; "The Suspension Bridge"; "Numbers of the Date Become the Names of Birds"; "Spring Street Bar"; "Heat Wave"; "The Intention of Two Rivers"; "For The Tails of Comets"; and "Sleep".

Group 3: "The Field for Blue Corn"; "The Reservoir"; "The White Beaver"; "Breaking the Circumference"; "A Deer Listening"; "You and You"; and "Goodbye, Goodbye".

Group 4: "The Scientific Method (for Walter)"; "Walter Calls It a Dream Screen"; "The Constellation Quilt"; "Run-off and Silt"; "The Translation of Verver"; and "Commentary".

Group 5: "Tail".

In The Heat Bird, Berssenbrugge shifted to a long-verse format.

The book contains only four poems, all several pages long and broken into numbered stanzas: "Pack Rat Sieve"; "Farolita"; "Ricochet Off Water"; and "The Heat Bird".

The verso indicates that some of the poems in the book were previously published in Conjunctions, Contact II, Roof, and Telephone.