Same Place, Different Time

8.15.18

“When I dream of afterlife in heaven, the action always takes place in the Paris Ritz,” Ernest Hemingway once wrote of the hotel he often frequented with F. Scott Fitzgerald. The hotel is used in his novel The Sun Also Rises, and is also the setting of his story “A Room on the Garden Side,” written in 1956 and published for the first time in this summer’s issue of the Strand magazine. Think of a short story you’ve written in which the setting plays a significant role, and write a new story that uses the same locale. How do different characters’ perceptions of the same setting add new dimension to the space? 

Plant Life

8.14.18

Toxins, acid baths, trigger-haired cages, bursting spores, complex plumbing systems, thorny irritants, and the ability to eat sunlight. Behind their placid green exteriors, plants lead a hidden life full of elaborate processes. Browse through this National Geographic slideshow of microscopic views of different plants and write a poem inspired by the up close images of cells, stems, and pollen. Do the photos propel you toward otherworldly thoughts, or do they remind you of particularly human tendencies?

Recovering Poetry at New Choices

Judith Prest is a poet, photographer, mixed media artist, and creativity coach. Her poems have been published in Mad Poets Review, Chronogram, Akros Review, The Muse: An International Journal of Poetry, Earth’s Daughters, Up the River, Upstream, Writers Resist, and in six anthologies. Prest spent twenty-six years as a school social worker and prevention trainer before retiring in 2009. She currently works part-time facilitating recovery writing and expressive art groups with adults in day treatment for addiction. She lives in Duanesburg, New York with her husband and three cats.

Anyone who has survived more than a decade or two on this planet has stories to tell. Often, however, people who struggle with addiction have not had the opportunity to sit down and write their stories, not even for themselves. For the clients I have worked with in recovery, any available energy they have is directed at surviving challenging life circumstances. Some have been incarcerated, and when the prison doors open, they land in a halfway house or in day treatment for addiction. Then suddenly, there is time and room to reflect on experiences, to tell the stories that need to be told.

I wrote poetry through my college years, then I got derailed by life. I started writing again about twenty years ago and have had my work published in literary journals and anthologies. Soon after my return to writing, I began to incorporate poetry and expressive arts into my social work practice. I now work as a creativity coach and workshop leader, along with my part-time work at New Choices Recovery Center in Schenectady, New York.

I believe that writing, particularly poetry, is a powerful tool for healing and growth. Creative writing can be a great recovery strategy. Getting our experiences, questions, and feelings onto the page, allows us to see what’s there, and work with it.

At New Choices, I have been leading recovery writing groups for over ten years. When we can, we like to bring in someone new who can offer a fresh approach. This is where John Fox, director of the Institute for Poetic Medicine (IPM) in Palo Alto, California comes in. John travels widely around the world and across the United States to bring “poetic medicine” to hospitals, retreat centers, community programs and, in this case, to New Choices Recovery Center.

John facilitates two ninety-minute group sessions with New Choices clients. Using poetry, he invites participants to access their creative side and respond with their own poems. This program adds to the poetry and creative writing already experienced at New Choices. We have had poetry open mic events, published four books of writing by our clients (two books were published with help from IPM), and some clients participate regularly in recovery writing groups.

This special poetic medicine program allows all clients at or in the program to experience one of John’s poetry immersion workshops. Even clients who do not read or write have been able to create poetry in John’s sessions, with me as their scribe. He has a way of helping poetry “sneak up” on people. Often, folks who never imagined writing anything will write a poem and find the courage to read it out loud to the group.

John and I are dedicated to bringing the healing power of poetry to folks who have struggled with other aspects of life. We want to continue to help people experience the elation of creating and sharing poetry. Thank you to Poets & Writers for making it possible for John to work his “poetic medicine magic” at New Choices again this summer!

Support for the Readings & Workshops Program 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.

Photo: Judith Prest (Credit: Leiah Bowden).

Upcoming Short Fiction Deadlines

Fiction writers, are you looking for places to submit your short stories and flash fiction pieces this month? Look no further: The following contests each offer a prize of at least $1,000 and publication. The deadlines are either August 26 or August 31.

TulipTree Publishing Stories That Need to Be Told Contest: A prize of $1,000 is given annually for a short story. The winning work will also be published in the contest anthology, Stories That Need to Be Told. Entry fee: $20. Deadline: August 26.

Aesthetica Creative Writing Award: A prize of £1,000 (approximately $1,290) and publication in the Aesthetica Creative Writing Annual is given annually for a short story. The winner also receives a consultation with the literary agency Redhammer Management, a subscription to Granta, and a selection of books from Bloodaxe Books and Vintage Books. The editors will judge. Entry fee: $15. Deadline: August 31.

Gemini Magazine Flash Fiction Contest: A prize of $1,000 and publication in Gemini Magazine is given annually for a short short story. The editors will judge. Entry fee: $5. Deadline: August 31.

Glimmer Train Press Fiction Open: A prize of $3,000 and publication in Glimmer Train Stories is given twice yearly for a short story. A second-place prize of $1,000 is also given. Entry fee: $21. Deadline: August 31.

Glimmer Train Press Very Short Fiction Award: A prize of $2,000 and publication in Glimmer Train Stories is given twice yearly for a short short story. Entry fee: $16. Deadline: August 31.

Gulf Coast Barthelme Prize for Short Prose: A prize of $1,000 and publication in Gulf Coast is given annually for a short short story. Entry fee: $18. Deadline: August 31.

Visit the contest websites for complete guidelines, and check out the Grants & Awards database and Submission Calendar for more contests in poetry, fiction, and creative nonfiction.

Go, Lemon, Go!

What does a rolling lemon gather? Apparently, a mass of viewers. Since photographer Mike Sakasegawa posted a two-minute video of a lemon he saw rolling down a hill in San Diego on Twitter last month, the video has accumulated almost ten million views, and garnered thousands of comments of encouragement and feelings of inspiration. Write a personal essay about a time when you have been cheered up or inspired by a video or photo, perhaps documented by a stranger or from someone you know. What was it about the imagery that provoked this positive response? Explore any memories or associations that might have made your viewing particularly resonant or emotional at that moment.

Mapback Edition

In the mid-twentieth century, American publishing house Dell issued “Mapback” editions of paperback books, whose back covers were printed with detailed illustrations and diagrams of maps showing where story events took place. Oftentimes these books were mystery or crime novels, and the back covers displayed cross-sections, floor plans, or bird’s-eye view maps. Sketch out your own map for a short mystery or crime story that takes place in several rooms or floors of a building, or among several landmarks scattered around a specific locale. Allow the map to guide the narrative for your story. Do these visual cues help you plot out the action and your characters’ motives?  

The Little Things

How many times have you tossed away a used tea bag without a second thought? In an interview series for New York Times Magazine, author Emily Spivack asks artist Laure Prouvost about the use of tea in her work, and specifically about a tea bag she’s kept for fifteen years once used by her grandmother. “I like that you can look at something that seems like nothing, like a very, very boring object, but it’s got so much history,” Prouvost says. Choose an everyday object that seems unexceptional, perhaps something ordinarily discarded, and write a poem that delves into a deeper history that adds complexity or magical importance. How does taking an in-depth look give more value to an object?

Deadline Approaches for Red Wheelbarrow Poetry Prize

Submissions are currently open for the 2018 Red Wheelbarrow Poetry Prize. An award of $1,000 and publication in Red Wheelbarrow will be given annually for a poem. The winner will also receive a letterpress broadside of the winning poem from Moving Parts Press. Award-winning poet Naomi Shihab Nye will judge.

Using the online submission system, submit up to 3 poems of no more than one page each with a $15 entry fee by August 15.  

Judge Naomi Shihab Nye, whose most recent collection is Transfer: Poems (BOA Editions, 2011), is the author of ten volumes of poetry, as well as several fiction books for children, musical recordings, and poetry translations. Nye’s numerous accolades include a Guggenheim Fellowship, the Academy of American Poets Lavan Award, and the Paterson Poetry Prize.

The Red Wheelbarrow Poetry Prize was established in 2017 by Red Wheelbarrow, the literary magazine published by De Anza College in Cupertino, California, and the Poetry Center San José. Poet Ellen Bass judged the inaugural contest; The winner was Partridge Boswell for her poem “Pop a Wheelie.” Visit the Red Wheelbarrow website for more information.

(Photo: Naomi Shihab Nye; Credit: Ha Lam)

Sentenced to a Sentence

“‘Not X, but also not not X.’” In a recent piece for the New York Times, Sam Anderson examines a sentence structure pattern that reappears frequently in Keith Gessen’s novel A Terrible Country (Viking, 2018). Anderson notes that many authors tend to repeat sentence structures in a move that reflects a particular worldview or expresses the author’s thought process in some way. Browse through your writing and search for one of your own signature sentence structures. Reflect and write about what this style reveals of your philosophies or how your mind works.

Eau de Weakness

Does weakness have a smell? In a study published in June in Scientific Reports, scientists found that injured ring-tailed lemurs lose 10 percent of their body odor, thereby signaling via scent their weakened state to potential rivals. This week, write a scene in a short story where your main character is exposed and displays a moment of weakness. Who is there to witness this vulnerability and does this person take advantage of it or show sympathy?

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