Approximately two hundred editors, writers, and readers of small literary magazines published in the Bay Area gathered at the Black Box, a trendy Oakland theater art gallery on Sunday, November 18, for the Small Press Soiree. Dulcey Antonucci, the editor of Area i, a literary magazine that takes its name from the parking designation for residents of downtown Berkeley, collaborated with local editors to plan the evening in an effort to introduce the audience to new publications.
Articles from Poet & Writers Magazine include material from the print edition plus exclusive online-only material.
Daniel Menaker's career moves are well known in publishing circles. After twenty six years at The New Yorker-he started as a fact checker and copy editor before serving as senior editor for twenty years-Menaker moved to the position of literary editor at Random House, where he worked for the past six years. Last month, he announced that he was joining HarperCollins Publishers as executive editor of the HarperCollins imprint. Menaker will report directly to Susan Weinberg, senior vice president and editorial director of HarperCollins, Perennial, and Quill.
The term "creative communities" often evokes sequestered environments at far-flung artists' colonies or graduate school MFA programs. This traditional notion was challenged, expanded, redefined, and reinvented during "The Future of Creativity" symposium in Chicago.
On the evening of October 29, more than seventy-five people crammed into The Red Wheelbarrow, a newly opened Anglophone bookshop, to inaugurate a reading series and celebrate two literary magazines: Upstairs at Duroc, published at the Anglo cultural center WICE, and Pharos, edited collectively by poet Alice Notley's workshop at the British Institute in Paris. The enthusiastic crowd spilled onto the cobblestone street, smoking cigarettes and craning their necks for a view of the proceedings.
Elizabeth Alexander's new collection, Antebellum Dream Book, deals with the image of the body, a theme she visits often in her previous works. "If you let a body speak," she says, "it gives you access to all sorts of concrete sensations that are vital, the stuff of poetry, the way a poem convinces." In this interview with Natasha Trethewey, Alexander speaks to her use of race, urban life, history, and of course, the body.
"We can't say it's the end of irony," said poet Carolyn Kizer, in light of the terrorist attacks on September 11. "It's the beginning. But irony is seldom appreciated by American culture."
Brenda Hillman's new book of poems, Cascadia, will be published by Wesleyan University Press in October. In it, Hillman returns to the ancient landform that preceded present-day California to excavate a poetics of place. Cascadia is a study of geologic as well as internal space, and the seismic shifts that occur in time through each.
With over sixty books published during a career that spans more than half a century, Robert Creeley is one of the most prolific and influential figures in American poetry. This month, New Directions is publishing Just in Time: Poems 1984-1994, which collects three of Creeley's previous books.
In such a saturated culture, how can a poet clear away uninfluenced space from which to write a poem that is authentic, original?
The author of the story collections CivilWarLand in Bad Decline and Pastoralia talks about working in a slaughterhouse, Monty Python as validation, earnestness as the enemy, and his uncanny ability to find humor in unlikely places.
Poet Joy Harjo talks about how the women’s movement, jazz, and Native American and mainstream U.S. culture have influenced her work.