E.C. Belli is a bilingual poet and translator. Her translation of I, Little Asylum, a short novel by Emmanuelle Guattari, was published in 2014, and The Nothing Bird, selected poems by Pierre Peuchmaurd, appeared in 2013. She is the recipient of a 2010 Paul and Daisy Soros Fellowship for New Americans. Her work has been published in Verse, AGNI, and FIELD, among others. Her work in French has appeared in Europe: revue littéraire mensuelle and PO&SIE.

Books by E.C. Belli:

Other poems on the web by E.C. Belli:
Two poems
Two poems
Two poems
Three poems

E.C. Belli's Website.

About Objects of Hunger:

"The short spiky-lined lyrics of E. C. Belli are compressed only on the surface of the page; in the ear they are resonant, in the mind they unfold rooms of thought. Belli's forms are smart, her voice is sure. This is not a haunted world; it is a world that itself haunts: with dark wit and a tender touch."
—Kazim Ali

"In her strongest poems, Belli's styptic precision amounts to a vigilance verging on a cosmogony. She is perhaps the purest (not to mention most fiercely feminist) heir of Wilfred Owen, Edward Thomas, and Siegfried Sassoon: where there is blood there is also the promise of intimacy, and a gauge by which to measure it, whether she's speaking of war, romantic passion, or childbirth. These are stately poems that cut toward the reader, then offer themselves up as bandages."
—G. C. Waldrep

"In these playful and ethereal poems that constitute E.C. Belli's intimate debut collection, the poet seeks for Seamus Heaney's 'immortelles of perfect pitch,' in which each word glows and hums a tune, an emotion, an observation, a (non)-narrative or lyrical detail . . . 'My feet are short sentences,' she muses. Of books and their lives, she thinks out loud, 'I remember / going home, / letting their names / out into the fields.' At once simple and complex, these polished verses feel like pebbles, other times strings. They also remind me of haikus, their art of seduction, distance, and understatement. Despite their hunger and deceivingly short breath, Belli's 'poetic objects' are fresh, intelligent, and sensitive to the presence—or absence—of an elusive 'other': an otherworldly existence and realm where one might be reticent to name the absolute, yet ready to embrace the unseen and unknown."
—Fiona Sze-Lorrain