»

| Give a Gift |

  • Digital Edition

Readings & Workshops Blog

For over forty-five years, the Katonah Poetry Series (KPS) has hosted nationally and internationally acclaimed poets in the welcoming and intimate setting of the Katonah Village Library in Northern Westchester County. Each reading is followed by an interactive Q&A session, as well as a reception and book signing. The distinguished poets who have appeared over the years include six poets laureate of the United States, six poets laureate of New York State and sixteen winners of the Pulitzer Prize in poetry. Billy Collins, U.S. poet laureate from 2001-2003, directed the series for seventeen years and continues to serve on the poetry advisory board. The series draws an audience, not only from Northern Westchester, but also the greater Tri-State region. The series provides a valuable service to the community—hearing live poetry is an important experience that differs from reading a poem on the page. KPS believes it is important to broaden the audience for poetry, and reaches out to regional high schools and colleges. The series is pleased to take part in creating a vibrant and intellectual literary community of readers, writers, and educators.

How many years and poets does it take to make an incredible reading series? In the case of the Katonah Poetry Series (KPS), forty-seven years, six U.S. poets laureate, sixteen Pulitzer Prize winners, and a host of renowned poets. This lively poetic scene would not be possible without vital support from grantors like Poets & Writers, a dedicated group of poetry lovers of all ages, and the wonderful venue of the Katonah Village Library.

The series began in 1967 with Robert Phillips showing up at the library with a gallon of wine, some cheese, and a poet in tow. When Bob left to join the faculty at the University of Texas, he handed the baton to Billy Collins. A few years later, prompted by the small turnout at a Samuel Menashe reading, I offered, as good friends tend to do, to help Billy with the series. I didn’t realize that I would inherit most of the organizational duties due to his 2001 inauguration as U.S. poet laureate! After my stead as Co-director, Director, and now as Poetry Advisor, I continue to be nourished by my involvement in the series and fondly refer to it as my personal MFA program. As Billy Collins aptly said, “If you sat on the steps of the Katonah Village Library for the past twenty-three years [and now forty-seven!] without moving, nearly every notable American poet would walk by you."

The intimate, informal atmosphere of our readings, and the book signing reception that follows, encourages everyone to interact with each other and the featured poet. Visiting poets often comment on the vibrancy and enthusiasm of our audience. Not only have we built an audience, but along with them, a thriving community of readers and writers.

Some highlights:

• Stephen Dunn’s reading two weeks after September 11, 2001, which audience members said helped them cope with the tragedy

• The Ilya Kaminsky reading in 2003 moved people to tears

• Many moments of laughter provoked by Billy Collins, Kay Ryan, Ellen Bass, and other poets

• A young mother with leukemia who credited the series with upgrading her quality of life as she underwent treatment

• Dylan Thomas’s "A Child’s Christmas in Wales" recited by James Navé every December, a community ritual drawing families and folks of all ages

Given the current strength of KPS, it is hard to believe that in the 2009-2010 season, the series came close to losing solvency. Help came in the unlikely guise of a September 2010 article in the New York Times, “Even Poetry is Undergoing Setbacks.” Surprisingly, unsolicited checks arrived from as far away as California! With those funds and the creation of a new Executive Committee, the series was revived. KPS now offers four annual readings, as well as some additional community events and workshops. The Katonah Poetry Series also has a new media presence to take it into the twenty-first century, including a website (featuring unique poet interviews), a Facebook page, a Twitter account, and coming soon—Instagram! Our recent Billy Collins reading attracted nearly three hundred people, and we are confident that we will be celebrating our fiftieth anniversary in 2017. Does that make us one of the oldest— and newest— reading series in the United States? Please “friend us” and we’ll look forward to welcoming you to the KPS family.

Photo: (top) Committee members from left: Van Kozelka, Director of Katonah Village Library; Leisha Douglas, Ph.D., KPS Poet Advisor; Julie Nord, KPS Publicity; Andy Kuhn, KPS VP; Moira Thielking, KPS President; Marlene Gallagher, KPS; Stephen Peeples, KPS Treasurer; Jessica Bennett, KPS; Barb Chintz, KPS.
Photo: (2nd from top) Ellen Bass reading from her new collection, Like a Beggar (Copper Canyon Press, 2014).
Photo: (3rd from top) Billy Collins Reading.
Photo: (bottom) Billy Collins connecting with fans. Photo Credit: Leslye Smith, Studio Smith Photography.

Support for Readings & Workshops in New York is provided, in part, by public funds from the New York State Council on the Arts, with additional support from the Friends of Poets & Writers.

Poet, performer, and librettist Douglas Kearney’s third poetry collection, Patter (Red Hen Press, 2014), examines miscarriage, infertility, and parenthood. His second book, The Black Automaton (Fence Books, 2009), was a National Poetry Series selection. He has received residencies and fellowships from Cave Canem, The Rauschenberg Foundation, and others. His work has appeared in a number of journals, including Poetry, nocturnes, Pleiades, The Boston Review, The Iowa Review, Ninth Letter, Washington Square, and Callaloo. Raised in Altadena, CA, he lives with his family in California’s Santa Clarita Valley and teaches at CalArts.

Douglas KearneyWhat are your reading dos?
Gosh—reading dos. I remember that the writing of these poems was driven by some kind of dynamic source—intellectual, emotional, physical. If I remember that, it animates the poems, even the quieter ones. Going to hear a reader read a poem is simply not the same thing as reading it yourself. So as a poet giving a reading, I see no point in being absent from the work while presenting it live (reading in Times New Roman, I call it). That’s what the book is for. That does not mean that you have to shout, switch accents, and sing (though that’s often an honest part of the composition for me and many others)—but I think being present is necessary and audiences can tell, even when your version of present is to read without much affect.

How do you prepare for a reading?
Most of my preparation is around getting my voice ready. I’ll scat a bit so I know where my range will be and to get my tongue limber. It’s funny, it also gets me surer of enunciation. Then, there are two rap tracks I perform: Mos Def and Talib Kweli are Blackstar’s “Definition,” and Latyrx’s “Say That.” Both are two-emcee crews, so it stretches me out a bit in terms of timbre, cadence, and breath control. As the work has gotten more mercurial, more shard-full, I sometimes do Nicki Minaj’s verse from “Monster.” Then, I pray that I don’t get in the way of the work, that I don’t embarrass my ancestors and contemporary friends and family, and give thanks I get to do this at all.

When it comes to picking my “set,” I want to do a different one for every reading. But if I’m a bit nervous, I lean on past sequencing. I want to get out of that habit—explore the “deep cuts” (ha!) a bit more.

What’s your crowd-pleaser, and why does it work?
I don’t know how pleased crowds are with my poems that work. I’ll say the ones that are probably the most likely at getting the unsettled responses, that I think the work solicits, are the “Miscarriage” poems from Patter, and my “peppy poem about the Middle Passage,” “Swimchant for Nigger Mer-folk” from The Black Automaton. These work because most folks seem to know how they should react to the surface subject matter—yet, the poems don’t go there without some complications. I think the surprise of that is engaging to audiences.

Additionally, I’ve come to pay a lot more attention to the banter between poems as an extension of the writing in a live setting. So I rework setups a lot. A dear friend of mine, playwright, performer, poet, and musician Eisa Davis has referred to the banter as “my stand-up.” I do study comedians to work out timing, cringe humor, and audience interaction.

What’s the craziest (or funniest or most moving or most memorable) thing that’s happened at an event you’ve been a part of?
Two things! Once, way back at a group reading in San Diego, some guy stood up in the middle of one of my poems, shouted “Parasites!,” and stormed out. That was fun!

And once, I was having a public dialogue with Amiri Baraka in the Bay Area. I read a poem called “The Chitlin Circuit.” This involved me leaping from the stage and stalking around the crowd, getting louder and louder as I repeated a passage of the poem. When I got back to the stage, Mr. Baraka looked at me like I had grown horns—but bright, beautiful, thorny horns! Then, he read “Ka’Ba”—and it was like a balm spread over the room. I had never truly known so much love and yearning for peace was in that poem—and I understood viscerally something about the late poet and the power of poetry I had never known before.

What you probably spent your R/W grant check on:
Something for my kids. They are working at being high-maintenance.

Photo: Douglas Kearney     Credit: Eric Plattner

Major support for Readings & Workshops in California is provided by the James Irvine Foundation. Additional support comes from the Friends of Poets & Writers

Richard Jeffrey Newman is the author of The Silence of Men and has translated from the Persian, The Teller of Tales: Stories from Ferdowsi’s Shahnameh. His poetry and essays have been published in Diode, the Good Men Project, Voice Male, 66: The Journal of Sonnet Studies, Ozone Park, and Newtown Literary. He blogs about the impact of feminism on his life as a man and the relevance of classical Iranian poetry to our contemporary lives. In June 2012, Newman took over as curator of First Tuesdays: A Neighborhood Reading Series

My favorite part of hosting First Tuesdays, the neighborhood reading series I run in Elmhurst, Queens, is building the “cento,” which has become a tradition for me to close with at each month’s open mic. A cento is a poem made from the lines of other author’s poems, and represents a collaboration between the poet composing the cento and the poets from whose work he or she borrows from. At First Tuesdays, this collaboration happens in real time. While the first open mic reader shares his or her work, prose or poetry, I listen for language that moves me. When the reader is finished, I recite that line back to the audience, and then I take (or sometimes the audience suggests) a line or phrase from each subsequent reader. In this way, line by line, we build a poem that represents the literature shared that evening.

Part of the fun is that I don’t write anything down until the entire cento is finished, making the poem a true collaboration. Indeed, the audience often helps me remember the lines, especially when the list of open mic readers is long. This communal participation, the fact that the people who come to First Tuesdays see themselves as a community, is what I cherish most. We are a diverse group, including writers at all levels of accomplishment and from many walks of life, and I am inspired by how warm and welcoming everyone is. Almost every month, we become the first audience for someone who has never read their work publicly before; and there are always people who come just to listen. Some of them have become regulars, as well.

I took over hosting First Tuesdays for the 2012–2013 season, though circumstances made it impossible for me to apply for Poets & Writers funding. Starting from the fall of 2013, I have applied for every reading, and the money I’ve received has made it possible not only to pay our featured readers a respectable honorarium, but also to demonstrate that our small, neighborhood venue—and the work that it does as a small, neighborhood venue—matters. The smiles and head nods I see when I announce that Poets & Writers has sponsored a reading tells me people are happy, and even proud, about that.

Here is September’s cento, the first of the 2014–2015 season, composed of lines by Allison, Keron Dinkins, Herb Rubinstein, Valerie Keane, David Mills, Amanda, Lydia Chang, Norman Stock, Marty Levine, Norka Del Rios, Sean Egan, and Peter Marra:

Everyone Downstairs Can See Directly Up My Skirt

A blind man suggests an offering:   
A family of skeletons released,
Seeking a way out of the suction of Eros,
   Blazing the way you are
when you finally return
   To be grossed out by little peckers.


Perhaps they will wonder why I have so little hair  
 Waiting for the lion
to return.

Be nice to your mother  
 In the presence of the holy one blessed be
he.

That melody of love was interrupted.

I whisper secrets to her pillow to see what it says.   
She always
carried a contempt for daylight.
   
I cried for a while and then the
humor of it struck me.


–Composed at Terraza Cafe, September 2, 2014

Photo: Richad Jeffrey Newman. Photo Credit: Beech Tree Images.

Photo: Terraza Cafe. Photo Credit: Richard Jeffrey Newman.

Support for Readings & Workshops in New York City is provided, in part, by funds from the New York State Council on the Arts,and the New York City Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and the Friends of Poets & Writers.

The Center for Book Arts, located in New York City, is committed to exploring and cultivating contemporary aesthetic interpretations of the book as an art object, while invigorating traditional artistic practices of the art of the book through classes, exhibitions, public programs, artist opportunities, and collecting. Founded in 1974, it was the first not-for-profit organization of its kind in the nation, and it has since become a model for others around the world.

The Center for Book Arts, now in its fortieth year, is pleased that once again Poets & Writers joins forces with us to present our upcoming Poetry Chapbook Reading. This annual program is an invaluable opportunity for emerging poets to receive feedback from established writers and to have their work formally presented to the public.

Each year, the Center invites a notable poet to serve as guest curator along with program curator Sharon Dolin. For 2014, the American poet David St. John graciously agreed to fill this role and has selected, out of a wide variety of submissions, Sara Wallace as featured poet, and M. Callen and Carol Ann Davis as honorable mentions.

The Poetry Chapbook Reading will take place October 17, 6:30pm, at the Center for Book Arts and will feature readings by St. John, Wallace, Callen, and Davis. The Center is currently producing a limited edition, letterpress-printed and hand-bound chapbook for guest curator St. John—designed and printed by artist Amber McMillan—as well as for the featured honoree Wallace—created by artist Ed Rayer. The Center is also printing a broadside of poems from each of the honorable mentions. The chapbooks and broadsides will be shown for the first time at the reading, and a reception will follow.

David St. John has described featured honoree Sara Wallace's work Edge as: "A brilliantly conceived collection that is both searing and tender by turns. Visceral, fierce, and unapologetic, these poems confront the reader like a series of shattered mirrors. Operatic in scope yet incisive as a laser, this work will seize you—so be warned—and refuse to let go."

St. John also commended M. Callen for Preferred Apocalypse, calling it: "A stunning sequence of raw-edged yet impeccably crafted poems. This is the chapbook I will happily carry with me when that apocalypse finally arrives.” He praised Carol Ann Davis' work as well, noting: “Davis is a remarkable poet of elegant, sweeping lines that enfold us in their meditative beauty. Busy Their Hands is another of her gorgeous and consoling collections.”

Poet David St. John has been honored with fellowships from the National Endowment for the Arts and the John Simon Guggenheim Memorial Foundation, among many others. He currently teaches at the University of Southern California in Los Angeles, where he founded and directed its first Ph.D. program in Literature and Creative Writing. St. John is the author of ten collections of poetry as well as a volume of essays, interviews, and reviews. He is also the coeditor of American Hybrid: A Norton Anthology of the New Poem.

Program curator Sharon Dolin, a Fulbright Scholar to Italy, received the 2013 Witter Bynner Fellowship from the Library of Congress and holds a Ph.D. in English from Cornell University.

The Center for Book Arts invites submissions to its 2015 Poetry Chapbook Program, which will feature guest curator Cornelius Eady. Submissions must be received by December 1, 2014. For more information, visit their website.

Photo: (top) Broken Glish: Five Prose Poems, by Harryette Mullen, guest curator of the Center’s 2013 Poetry Chapbook Program. Letterpress printed and bound at the Center by Delphi Basilicato. Photo: (bottom) Sharon Dolin. Photo Credit: Center for Book Arts.

Support for Readings & Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the New York City Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and the Friends of Poets & Writers.

Red Hen Press, founded by Kate Gale and Mark E. Cull, has been a part of the Los Angeles publishing world since 1994 and remains one of the few literary presses in the city. Red Hen hosts a series at the historic Annenberg Community Beach House in Santa Monica. A P&W–supported reading on September 9, 2014 featured poets Afaa Michael Weaver, Douglas Kearney, Brett Fletcher Lauer, and Robin Coste Lewis and was moderated by Red Hen Press founder Kate Gale. R&W (West) program assistant, Brandi M. Spaethe, attended the reading and writes on her experience.

Annenberg Community Beach House

My first time at the Annenberg Community Beach House, I arrived when the sun was still just high enough to sink into the ocean as four wonderful poets read their work. One reader commented: “How can I compete with that?” The audience faced the reader who faced a wall of windows. We were all part of the spectacle for each poet who stood at the podium. They were a reflection of the setting sun and the turn of day to night.

In the 1920s, William Randolph Hearst erected a mansion for Marion Davies on the site where the Annenberg Community Beach House currently resides, and it became a place for Hollywood stars to congregate. Joseph Drown purchased the house from Davies in the 1940s and converted the property into a hotel and beach club. Many years later, the state took over and continued to run it as a beach club until the Northridge earthquake in 1994 damaged all properties on site. The Annenberg Community Beach House was built via a grant from the Annenberg Foundation as a place for the Santa Monica community and surrounding communities. 

Red Hen Press has sparked a tradition of poetry at the beach house with past readers who include Susan Straight, Ilya Kaminsky, Camille T. Dungy, and Ron Carlson. One of the night’s readers, Brett Fletcher Lauer from Brooklyn, New York, joked with me about arriving far ahead of schedule due to a warning from the locals about the traffic. He said it gave him a chance to sit outside the beach house and enjoy the scenery. After the reading, P&W–supported writer Douglas Kearney waxed poetic about the ocean at night and how daunting a thing it was. Many of us made note of the space, commenting on its magic.

First to the podium was Robin Coste Lewis, who is currently in the PhD in creative writing program for poetry at the University of Southern California. Her elegance and poise matched the power of her words while the low sun highlighted her beautiful ensemble. Brett Fletcher Lauer read work from his recent book A Hotel in Belgium, making note of its darkness, which was never deprecating or pitiful, but rather stunning in its revelations—enough to make you consider your own station. P&W–supported poet Douglas Kearney, in true Kearney fashion, shifted the tone of the reading with eye-opening crescendos and anaphoras from his published work, including his most recent book of poetry, Patter. His performance asked us to sit up and pay attention. The sun sank lower, almost out of sight now, almost gone. The final note, and a rising one, was P&W–supported poet Afaa Michael Weaver. He shared poems from a variety of his publications with a wisdom that seemed to come from a life of having seen much darkness and written through it. The audience listened intently, catching its breath as he delivered each line. 

Red Hen Press will host the next Annenberg Community Beach House reading on October 14th at 6:30 PM, featuring Leia Penina Wilson, Genevieve Kaplan, Jessica Piazza, and Mary Johnson. The readings are free. More information can be found here

Major support for Readings & Workshops in California is provided by the James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

Harnessing the healing power of words through writing helped Deborah Mayaan recover from serious illness. Her essays and poems have appeared in a wide range of publications including Woman of Power, Sin Fronteras, Maize, Unstrung, and Rattlesnake Review, and anthologies including Sister/Stranger and She Who Was Lost Is Remembered. Her journalism articles on health and spirituality topics have appeared in Spirituality & Health Magazine, the Arizona Daily Star, Tucson Lifestyle, the Tucson Weekly, and the Arizona Jewish Post. She loves teaching writing workshops and earned an MA in educational psychology. She also brings writing opportunities to people through art installations in public spaces. The Tucson Pima Arts Council awarded a grant for her installation “Fountain of Peace” in which participants write about what they need to release or strengthen to be at peace. Mayaan has led P&W-sponsored workshops with the Tucson Medical Center, University of Arizona Cancer Center, and Congregation Chaverim.

Deborah MayaanWhat techniques do you employ to help shy writers open up?
I put a strong emphasis on creating a group that serves as an emotionally safe container. Each time we meet, I reiterate the importance of confidentiality and also attend to physical needs. I not only remind people of the location of drinking water and the bathroom, but also check in about their comfort with the temperature, lighting, and room configuration (with, of course, a great deal of variability depending on how much we can change in different spaces). I also remind people that sharing writing is optional. If people do choose to share, they also choose if they’d like to receive feedback, and what kind. I often use a meditation bell timer to set time boundaries on shares so that there is an opportunity for everyone to share at least once in a smaller group, or to give more people an opportunity in a larger group.

What has been your most rewarding experience as a workshop leader?
It’s been very rewarding to witness real shifts in people’s lives. In a recent workshop at the University of Arizona Cancer Center on the topic of “What am I living for?” I appreciated seeing how energized people were by developing visions and goals for challenging phases of life. I liked hearing about how it helped them focus and take action. In a recent workshop at Tucson Medical Center Senior Services, the focus was on writing a will of ethics and values as a way to pass on a spiritual legacy. A woman said that it helped her open up her heart. Several people commented on how the plan for sharing the ethical will with their families, and updating it regularly, had great potential for changing the family dynamic in order to express feelings and to share personal growth.

What effect has this work had on your life and/or your art?
Working with people who are facing death helps keep me awake to the present moment, and reminds me not to play it too safe. The practice of writing a will of ethics and values is rooted in my Jewish culture and teaching it has helped me become clearer about my own values. The combination of these reminders has given me the courage to become increasingly vocal in addressing current issues in Israel. I’ve organized healing rituals and written about them. I’ve recently started writing creative nonfiction that includes reporting, memoir, and political reflection. Here in Tucson, some of us are drawing connections between border issues in Israel and Palestine and the U.S. border with Mexico. On both borders, separation walls, guard towers, and the detention and questioning of people based on their ethnicity are all used to restrict the movement of people through regions that have been their homelands for generations. Israeli writers like Avraham Burg and Ari Shavit have written about how the unhealed trauma of the Holocaust may possibly be reenacted in Israel—in the creation of a state system of racial discrimination, along with those eerily similar guard towers and detention camps. A friend of mine is currently on a trip to Germany that includes speaking publicly about U.S.-Mexico border issues and praying at Dachau, and our conversations have helped bring all these threads together. Since I’ve seen such deep healing shifts in myself and others, I have hope for the healing of societal issues when we address our shared needs for safety, security, and self-determination. I don’t yet know what actions I’ll take to share and place this writing, but I’m carving out time to write.

What are the benefits of writing workshops for seniors?
Seniors usually have the time to write, but can hold themselves back, not trusting their voice, feeling constrained by what people will think, or simply procrastinating without knowing why. Writing workshops give a structure in which people can write an entire ethical will, or get started on a larger project like a memoir.

Photo: Deborah Mayaan     Credit: Amy Haskell
Support for Readings & Workshops events in Tucson is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.

Estelle Ford-Williamson, is coauthor of Seed of South Sudan: Memoir of a "Lost Boy" Refugee, and editor of the Lou Walker Center Writers Anthology, Vols. 1 and 2. She has received Poets & Writers grants to teach creative writing to young adults who have timed out of the foster care system in Atlanta, Georgia.

On the other end of the phone, a willing librarian listened: Would a library in north-central New York State be interested in a former Lost Boy of Sudan and his coauthor reading and discussing their recent book about his experience fleeing death in a religious/ethnic war, and his subsequent life adapting to Atlanta and now living on two continents?

Fortunately, the answer from Oswego Public Library’s Edward Elsner was yes. My coauthor Majok Marier and I began to put together an extensive road trip that included readings in four cities far from our Atlanta roots: Lakewood (Cleveland), Ohio; Oswego and Syracuse in New York; and Washington, D.C. One grant to appear at the Oswego Public Library was the catalyst that encouraged us to set up other readings–the grant was through Poets & Writers. During our tour, we met former Lost Boy John Bul Dau, author of God Grew Tired of Us and a South Sudan aid leader, and many others involved in refugee issues.

Our book, Seed of South Sudan: Memoir of a “Lost Boy” Refugee was published in May by McFarland and Company. It updates the story of the young men and women, thousands who arrived in America in 2001. Their resettlement was a part of an unprecedented airlift to provide futures for the young children facing limited lives in refugee camps due to a decades-long war. Now young men and women, they are spread throughout the United States (Australia and Canada, too) as they pursue an education and jobs that enable them to support family back home, as well as help build the new nation of South Sudan.

The welcome was warm at the Oswego Library, the “Castle on the Hill.” The historic building is a shrine to abolitionism and to the Free Library movement as the library was built by noted abolitionist Gerrit Smith. Our book tour coincided with heated protests in another part of the country to block entry of underage migrant children from Central America. It was probably one of the most emotional times in the recent national debate on refugees in the United States.

The reading yielded only appreciation, encouragement, and a desire to learn more about Majok and our journey together as coauthors of his story–his semi-nomadic life as young Dinka tribesman in the Rumbek area before fleeing his village in the war. Even more interest centered on his goal of drilling the first water wells in such villages.

Our trip affirmed the value of such face-to-face exchanges, and I highly recommend that writers contact this library and other venues in states and cities served by the Readings & Workshop program. All it took was a minimal amount of research, a willingness to cold-call possible sponsors, and an interest by a library to enrich their patrons’ literary experiences.

Photo: (top) Estelle Ford-Williamson. 

Photo: (bottom) Estelle Ford-Williamson, Majok Marier, and John Bul Dau. Photo Credits: Richard Williamson.

Support for Readings & Workshops in New York is provided, in part, by public funds from New York State Council on the Arts, with additional support from the Friends of Poets & Writers.

<< first < previous Page: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 next > last >>

8 - 14 of 290 results

Subscribe to P&W Magazine | Donate Now | Advertise | Sign up for E-Newsletter | Help | About Us | Contact Us | View Mobile Site

© Copyright Poets & Writers 2014. All Rights Reserved