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Submissions are currently open for the Tell it Strange Essay & Story Contest, sponsored by the Gotham Writers’ Workshop and the Writer. The winner will receive $1,000, publication in the Writer, and tuition valued at $445 to take a class through the Gotham Writers’ Workshop in New York City or online.

A $500 second-place prize and a $250 third-place prize will also be given; both awards include publication on the Writer website and tuition for a workshop. All three winners will also receive a subscription to the Writer.

Using the online submission system, submit a story or essay of up to 1,000 words with a $15 entry fee by May 31. The piece should respond to one of the following two quotes by fiction writer Annie Proulx: “We’re all strange inside. We learn how to disguise our differences as we grow up (The Shipping News);” or “There’s something wrong with everybody, and it’s up to you to know what you can handle (Close Range).” The winner will be announced by July 1.

Annie Proulx is the author of four short story collections, four novels, and most recently Bird Cloud: A Memoir of Place (Simon & Schuster, 2011). Her novel The Shipping News (Simon & Schuster, 1993), about a family living in Newfoundland, won the Pulitzer Prize and the National Book Award. Close Range (Simon & Schuster, 1999) is a collection of short stories about Wyoming, including “Brokeback Mountain.”

Established in 1993, the Gotham Writers’ Workshop offers creative writing workshops in New York City and online for poets, fiction writers, and nonfiction writers. The mission of Gotham Writers’ Workshop is “to demystify the writing process through expert instruction and proven methods in a safe, creative learning environment.”


Proulx: Eamonn McCabe/the Guardian

The Poetry Foundation announced yesterday that Nathaniel Mackey has won the 2014 Ruth Lilly Poetry Prize. The annual $100,000 prize honors a living U.S. poet for outstanding lifetime achievement.

Mackey, sixty-six, is the author of over a dozen poetry collections, most recently Nod House (New Directions, 2011) and Splay Anthem (New Directions, 2006), which won the National Book Award. Often known for his experimental work, Mackey has published four installments of his ongoing serial novel, From a Broken Bottle Traces of Perfume Still Emanate. He teaches at Duke University.

Don Share, editor of Poetry magazine, which is published by the Poetry Foundation, praised Mackey’s work. “The poetry of Nathaniel Mackey continues an American bardic line that unfolds from Whitman’s Leaves of Grass to H. D.’s Trilogy to Olson’s Maximus poems, winds through the whole of Robert Duncan’s work and extends beyond all of these,” he said. “In his poems, but also in his genre-defying serial novel (which has no beginning or end) and in his multifaceted critical writing, Mackey’s words always go where music goes: a brilliant and major accomplishment.”

Recent winners of the Ruth Lilly Poetry Prize include Marie Ponsot and W. S. Di Piero. The prize was established by Ruth Lilly in 1986, and has honored poets such as Adrienne Rich, Philip Levine, John Ashbery, W. S. Merwin, Yusef Komunyakaa, Kay Ryan, C. K. Williams, and Lucille Clifton.

University of California Press received the Poetry Foundation's inaugural Pegasus Award for Poetry Criticism for two of its books, both published in 2014, on the poet Robert Duncan: Robert Duncan: The Collected Later Poems and Plays, edited by Peter Quartermain, and Robert Duncan: Collected Essays and Other Prose, edited by James Maynard. The $7,500 annual award honors the best book-length works of criticism, including biographies, essay collections, or critical editions, that focus on poetry.

Mackey and University of California Press will be honored at a ceremony in Chicago on June 9.

Visit the Poetry Foundation website for an extended interview with Nathaniel Mackey. In the video below, Mackey gives a reading at the University of California in Santa Cruz in 2008.

You know what April showers bring. This week think about flowers. More particularly, think about your flower. Is there a certain flower that you personally identify with or fills your heart with joy? If not, is there a flower that reminds you of a special person in your life or brings up a fond memory? Write about this flower and why it's important to you, taking care to illustrate its beauty.

JP HOWARD, aka Juliet P. Howard, is a poet, a Cave Canem fellow, a member of the Hot Poets Collective, and a native New Yorker. She curates and nurtures Women Writers in Bloom Poetry Salon (WWBPS) and blog. WWBPS hosts monthly literary Salons in New York, and the blog accepts submissions of poetry from women. JP has been selected as a 2014 VONA/Voices Poetry Fellow, a 2012 and 2011 Lambda Literary Foundation Emerging LGBT Voices Fellow, and a 2011 Cave Canem Fellow in Residence at the Virginia Center for the Creative Arts. She was a finalist for Astraea’s Lesbian Writers Fund for Poetry and the recipient of a Soul Mountain Retreat writing residency. Her poems have been published in Adrienne: A Poetry Journal of Queer Women, the Best American Poetry Blog, MiPOesias iPad Companion, African Voices Magazine, Kweli Journal, the Mom Egg, “Of Fire, Of Iron,” Talking Writing, Muzzle Magazine, Connotation Press, TORCH, Cave Canem Anthology XII: Poems 2008-2009, Cave Canem XI 2007 Anthology, and Promethean Literary Journal. She was awarded an MFA in creative writing from the City College of New York in 2009, holds a BA from Barnard College, and a JD from Brooklyn Law School.

Women Writers in Bloom Poetry Salon (WWBPS) is a dream come true! After receiving my MFA from the City College of New York in 2009, I wanted to continue to be a part of a community of poets and decided sometimes we have to create the community we desire. WWBPS is a Literary Salon Series, modeled after traveling salons that were popular during the Harlem Renaissance. Our first Salon was held during National Poetry Month in April 2011 and was created with the goal of establishing a venue where women writers could come together in a supportive, creative, and nurturing space. The Salon is also open to men. As curator and nurturer of WWBPS, I host monthly literary salons and writing workshops throughout New York. Poets & Writers has generously funded WWBPS since 2012.

Our monthly Salons have grown and can now accommodate between twenty-five to thirty participants. We have served over six hundred participants in the past three years and continue to expand opportunities for Salon members. This year I started a Spring Reading Series “Celebrating a Sacred Space for Women’s Voices: Women Writers in Bloom” at the Bowery Poetry Club, featuring dynamic and diverse Salon poets. This new Series, also funded by Poets & Writers, has its next installment on May 18, 2014, at 1 PM. We had our first out-of-state Seattle-based Salon during AWP at an off-site venue this year. I was recently awarded my very first Brooklyn Arts Council (BAC) Community Arts Fund Grant on behalf of the Salon. This grant allowed me to rent the gorgeous DUMBO Sky venue for our April celebration. Last month WWBPS was one of four literary organizations whose members were invited to participate in Poets & Writers' fifth annual Connecting Cultures Reading, which was a true honor for the Salon and our members.

It has been an amazing feeling to watch the Salon blossom in both membership and outpouring of support. Our three-year anniversary celebration on Saturday, April 26, at DUMBO Sky was one of our largest, most successful events to date! We had nearly seventy guests in attendance. It was wonderful to have the support of Poets & Writers for this anniversary celebration. Our featured poet, phenomenal performer Mahogany L. Browne, performed an excerpt of her manuscript turned multi-media poetry production, #redbone, along with musical accompaniment by Mel Hsu. The performance was inspirational and mesmerizing. Since a large goal of the Salon is to support and nurture women writers, I also honored two long-time Salon members: dynamic poets Cheryl Boyce-Taylor, curator of the Calypso Muse Reading Series and the Glitter Pomegranate Performance Series, as well as Lorraine Currelley, founder and director of Poets Network and Exchange, were presented with certificates of appreciation in recognition of their outstanding dedication to our writing community. This event was spectacular! Salon members and volunteers donated tons of food, wine, beverages and gave freely and generously of their time. This was an event created for our community and was truly a success because of our community!

Photo: (Top) JP Howard, (Middle) JP Howard, Cheryl Boyce Taylor, Mahogany Browne. (Bottom) JP Howard, Lorraine Currelley. Photo Credit: Akinfe Fatou.

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.

There's a beautiful scene in Markus Zusak's novel The Book Thief during which Max, who is hiding from the Nazis in the basement of a German family's house, asks Liesel, their daughter, to tell him what her eyes see when she goes outside. What he gets is an almost magical description: the view of the world through a child's eyes, beautifully unaffected by the dark cloud of World War II looming on the horizon. This week, try to describe something through the eyes of a child. It could be a day, a landscape, an object, a person — anything with a bit of hidden magic only a child can tap into.

For the fourth installment of our ongoing Winners on Winning series, we spoke with poet Christopher Salerno, who was chosen by D. A. Powell as the winner of the 2013 Georgetown Review Poetry Contest for his collection ATM. He received $1,000, and his book was published in March by Georgetown Review Press. His previous collections include Minimum Heroic, which won the Mississippi Review Poetry Prize in 2010, and Whirligig, which was published by Spuyten Duyvil in 2006. He is an assistant professor of English at William Paterson University in New Jersey.

What kind of impact has winning the Georgetown Review Poetry Prize had on your career?
I’m actually up for tenure this year at the university where I teach, and so clearly a prize of any kind is useful for that business. But more important, in terms of my writing, the prize has afforded me the time and perspective to clear the deck, and to be patient and thoughtful about what comes next. I realize that I don’t need to be pushing out books on any kind of set schedule. If it happens, great. Also, I’m sending myself on a modest reading tour this spring, which will allow me to connect with other writers and audiences who may not know about my work.

Has winning this award, or previous awards, changed the way you approach your work?
Absolutely. Winning this award for ATM, and winning an award for my previous book, Minimum Heroic, has given me insight into my revision process, and what it means to “finish” a manuscript. It’s also made me think about the notion of a “project” or themed book, such as ATM. Some presses responded more strongly to the cohesive nature of this manuscript, as opposed to my previous, loosely-knit collections.

Have you ever entered a contest that you didn't win?
Yes. I’ve entered more contests over the years that I can remember. But fewer and fewer as my career has moved along. To some degree I’ve used rejection to push me back into the manuscript and think more about it. I’ve also developed more awareness and respect for what certain presses do and what kind of work they publish, and so if my book doesn’t make the cut I am more inclined to wonder why. I’m rarely satisfied with my work anyway, and I find great enjoyment in pushing the manuscript around to see what other potential is there. 

What advice would you offer to writers thinking of submitting to writing contests?
There are two things I’ve learned. First, you must familiarize yourself with the judge’s work and the work published by the press or publisher holding the contest. You’d be crazy to throw your $20 at a press just because you think it’s grand. How do you see your work fitting there? My advice would be to send, but only if you think it’s a good fit. Secondly, it’s wise to keep in mind that, after winning a prize, it is unlikely that the press will publish that winner’s follow-up book. Some presses are loyal to authors, and others seek the freshness of new contest books. 

For more Winners on Winning, read the current issue of Poets & Writers Magazine, and check back here every Wednesday for the next six weeks for a new installment.

Maya Angelou once said, "To describe my mother would be to write about a hurricane in its perfect power." This week, write a poem describing your mother. What immediately comes to mind when you think about her? What everyday things remind you of her? If you feel like you don't know her very well, describe what you imagine she's like. If you want to make your mom feel extra special, try to find a way to share your poem with her this Sunday.

The American Poetry Review is currently accepting submissions for the Stanley Kunitz Memorial Prize for Younger Poets. The annual prize is given for a poem or group of poems written by a poet under 40. The winner will receive $1,000 and publication in the September/October 2014 issue of the American Poetry Review.

Poets may submit one to three poems totaling no more than three pages with a $15 entry fee. The deadline is May 15; poets may submit using the online submission system, or by postal mail to the American Poetry Review, Stanley Kunitz Memorial Prize, UARTS/320 South Broad Street, Hamilton #313, Philadelphia, PA 19102. The editors of the American Poetry Review will judge. The winner will be announced by July 1.

Established in 2010, the prize honors the late Stanley Kunitz and his dedication to mentoring young poets. Kunitz (1905-2006) taught at Bennington College, Brandeis, Columbia, Princeton, Queens College, Rutgers, University of Washington, Vassar, and Yale. He helped found the Fine Arts Work Center in Provincetown, Massachusetts, as well as Poets House in New York City. From 1969 to 1977, he served as the judge for the Yale Series of Younger Poets prize, selecting the work of emerging poets such as Carolyn Forché and Robert Hass.

Previous winners of the Stanley Kunitz Memorial Prize prize include Ocean Vuong, Alex Dimitrov, and Elly Bookman.

Photo credit: Middle Tennessee State University

No matter how adventurous an eater you are, there's bound to be some foods that immediately turn you off. It could be the smell, the texture, or just the way it looks that makes it unpalatable. This week, write about a time when you were faced with something that is supposedly edible but that you found absolutely unappealing. It could be a food from a different culture, an odd combination of flavors, or a culinary experiment a friend or relative cooked up that didn't turn out as planned. Did you eat it anyway? Or did you leave it for someone else to enjoy?

For the third installment in our weekly Winners on Winning series, we spoke with poet Dexter L. Booth, who was selected by Major Jackson as the winner of the 2012 Cave Canem Poetry Prize for his collection, Scratching the Ghost, which was published in 2013 by Graywolf Press. He teaches poetry and English composition at Arizona State University.

What kind of impact has winning the Cave Canem Poetry Prize had on your career?
A few months after I found out I was selected for the prize I was contacted by the University of Arizona’s Poetry Center and the Pima Writers’ Workshop. At this point the book didn’t even have a cover image and wasn’t real to me yet. I drove to Tucson to give a reading, lecture, and run a workshop that summer. It was the first time I had ever been invited to be a part of something like that. I met a bunch of great writers and made some connections in the academic community, some of which have led to friendships that I’ve come to deeply value.

When the book was released I flew to New York City and read at NYU and met Cornelius Eady. Because Cave Canem is based in New York I also had my first face-to-face meeting with Alison Meyers, the executive director of Cave Canem, and a few others I had been in touch with via email for over a year. I was introduced to a lot of Cave Canem fellows and they were all incredibly nice and extremely supportive.

Working with Graywolf Press has also been a humbling experience. They are so accommodating and flexible. I owe a lot of the publicity credit to them. Jeff Shotts is an amazing editor and he really cares about Graywolf’s authors. Though I’ve made quite a few connections and have been given a number of opportunities, I’m not one to brag about the details. I am very fortunate and I think winning this prize has made my career.

Has winning this award, or previous awards, changed the way you approach your work?
When I first found out the book was going to be published I was both elated and petrified. I had been sending it out, but I didn’t expect anything other than rejection; that’s a part of the process, a type of battle scar. Suddenly my poems went from being read by teachers, friends, and fellow poets, to having a readership that extended outside of the people I knew. I was so used to writing in solitude and sharing with a chosen few, the thought of the poems packing their sacks and heading out into the world with just one another to rely on was mortifying. For about six months or so I couldn’t write anything new. I had written a lot while sending out the manuscript but suddenly worry over the reception of the book became very crippling. After the buzz of congratulations died down a bit I made a concentrated effort to put it out of my mind. My work had already naturally evolved and I was writing poems that were longer and noticeably more demanding. I threw myself into those new poems as a way of ignoring the book. All of my poems are written out a desire to understand the world; the poems from the book are a part of my evolution as a writer, of course, but I don’t see the publication of the book itself as having any direct impact on the way I write.

Have you ever entered a contest that you didn't win?
Richard Siken said that sending out your work and getting rejections is a form of participation in the literary community. Pretty early into my MFA I made it a habit to submit my work to various journals and contests. I received a lot of rejections. The first rejection is always rough on anyone, but you get used to it. I was the poetry editor for Hayden’s Ferry Review for a year and I got to see the submission process from the inside. So many poems come through—many of them don’t even make it to the editor, and though a lot of what does is strong work, it doesn’t always meet the taste or aesthetic of the person who reads it. Contests work the same way.

What advice would you offer to writers thinking of submitting to writing contests?
Be patient and persistent. Rejection is just a part of what we do as artists. People often see the name of the judge for a contest and think their work is perfect and that there’s no way they can’t win, but in reality [a submission] has to go through a lot of hands before it reaches that judge. This can get expensive since there are so may contests out there, but I don’t think submitting to everything is prudent. Do some research and pick a few contests to send to. Send your best work but know that every other person who submitted is doing the same. If you aren’t selected, read the work that was and see what you can learn from it. Consider submissions to be an exercise in participation and don’t think about winning or losing or being rejected. Once the poems are sent, take a walk. When you get back home start writing new poems. If the poems are turned down, take another walk, start another poem. Rinse. Repeat.

For more Winners on Winning, read the current issue of Poets & Writers Magazine, and check back here every Wednesday for a new installment.

Spring can at times seem like one long daydream. Does one of your characters have the habit of drifting off into a fantasy world? This week, write out one of these daydreams. Use plenty of surreal elements that make it clear this is a fantasy sequence and not just the character re-imagining a scenario working out a different way. "The Secret Life of Walter Mitty" by James Thurber is a perfect example.

Take a moment to think about where you are from. If that's not so easy to pin down, think instead about a place that's had an impact on you, a place in which you've spent a relatively long time, or the place you live now. Now think about how the people talk there. What are the phrases or cadences that color their speech? Take this local voice and use it in a poem about the place you are thinking of. For example, write a poem about going to summer camp in Maine using the Mainer accent, or about moving to New Orleans in the voice of a Louisiana native.

Submissions are currently open for the Paris Review's Writer-in-Residence program. Cosponsored by the Standard’s East Village hotel in New York City, the three-week residency, valued at $7,500, is given to a poet, a fiction writer, or a creative nonfiction writer with a book under contract. The resident will receive a room free of charge at the Standard’s East Village hotel for the first three weeks in July, as well as breakfasts, unlimited coffee, and a small reception at the end of the residency.

To apply, submit a description and sample of the work-in-progress totaling no more than 50 pages, a letter from the publisher confirming that the work is under contract, a brief letter of intent, and an optional sample of previous work totaling no more than 50 pages by May 1. All materials must be submitted electronically to residency@theparisreview.org. The editors of the Paris Review and Standard Culture will judge.

The residency program was launched in the fall of 2013. The inaugural resident, fiction writer Lysley Tenorio of San Francisco, spent three weeks in January at the Standard’s East Village hotel working on his novel.

The winner will be announced on June 7, 2014.

Mary McMillan lives and works in Lake County, California. She has been facilitating the Writers Circle, a monthly free public writing workshop sponsored by the Lake County Arts Council and supported by Poets & Writers, for more than five years. She worked as a journalist for several years, and has written novels and creative nonfiction. In 2010, she was selected as Lake County’s Poet Laureate and published This Wanting, a poetry chapbook, as well as the textbook Get Inside Your Relationships, related to her work as a marriage and family therapist. Along with a private psychotherapy practice, McMillan works as a mediator for family court and teaches parents in the court system how to communicate better with their co-parents.

Mary McMillan and RosieSince fall 2008, I have been funded by Poets & Writers to facilitate the Writers Circle, a free public writing workshop that meets once a month in the Lake County Arts Council gallery. Located in rural Northern California, in a valley isolated by mountain ranges, Lake County is both cursed with the problems that come with extreme poverty, and blessed by clean air and breathtaking scenery. Many artists, writers, and professionals retire in Lake County, where they can enjoy mountain trails and the largest natural freshwater lake in the state. Centuries ago, a now-dormant volcano created rich soil in the valleys—soil that now attracts small family farms growing organic produce, walnuts, pears, and wine grapes.

Since I took over the position of workshop facilitator, I've been fascinated and moved every month, as participants have brought in material often hoarded and hidden for years—and I have watched these writers bloom into confident authors of exquisitely funny, terrifying, or touching stories and poems.

Ten years ago, Fran Ransley began writing her memoir, This House Protected by Poverty, about being a welfare mother. This month she is preparing to submit the final version of her manuscript to Amazon’s CreateSpace to print her first edition. Each month, when Fran read her stories of frustration laced with irony and wit, participants practically fell off their chairs laughing—appreciating the absurdity Fran saw in every situation— yet offered constructive criticism. For instance, when Fran rambled into interesting or thoughtful digressions, we helped her construct ways to weave those observations into her central narrative.

Writers CircleIn 2010, participant Lourdes Thuesen started writing a short story about a developmentally delayed girl whose mother was addicted to methamphetamine. As we continued asking her questions about this mother and her history, Lourdes ended up writing a compelling novel with the addicted mother at the center of a complex web of relationships. And, recently, a middle-aged man in a wheelchair has joined us, keeping us enthralled with excerpts from his memoir, So You Want to be a Quadriplegic.

Over the years, I have offered an encouraging ear, and ensured a safe place for people to bring sensitive material and tell their stories. I have always felt impressed with the fine quality of both writing and listening that participants bring to the workshop, but even more, I have felt privileged to witness the rich and complex lives they have come to share.

Top: Mary McMillan and her dog, Rosie; credit: Patty Dalton. Bottom: The Writers Circle; credit: JoAnn Sacato.
Major support for Readings & Workshops in California is provided by the James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

There are several holidays that incorporate dressing up in costume: Halloween, Purim, and Mardi Gras, to name a few. On these occasions, the goal is to look like somebody (or something) else. But on the days that aren't dress-up holidays or occasions, there are times when you put on a certain outfit or a particular style of clothing and it can feel like you are putting on a costume. Try writing about an experience you've had when you dressed yourself in a way that made you feel like a different person. Was it a pleasant or uncomfortable experience? Did people recognize you? Describe what it felt like.

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