Applications are currently open for the Black Mountain Institute & the Believer fellowships, open to emerging and established poets, fiction writers, and creative nonfiction writers. Fellows will reside in Las Vegas for the 2019–2020 academic year, where they will join a thriving community of writers and scholars on the UNLV campus. Fellows will also receive a stipend and contribute to the Black Mountain Institute (BMI) and/or the Believer magazine.

The Shearing Fellowships for Emerging Writers, which offer an honorarium of $18,000 each, are open to writers who have published at least one book with a trade or literary press. The Shearing Fellowships for Distinguished Writers, which offer an honorarium of $25,000 each, are open to writers who have published at least three books.

The deadline for both fellowships is November 14 at 12:59 PM Pacific Standard Time. Using the online submission system, submit a writing sample of 10 to 20 pages, a cover letter, and a proposal (totaling no more than two pages) with suggested contributions to the Believer and/or BMI. Finalists will be asked to send copies of their books.

Applications will be reviewed by an advisory committee of UNLV graduate students, staff, and community stakeholders. Recipients will be notified in Spring 2019.

Based in Las Vegas, Nevada, the Beverly Rogers, Carol C. Harter Black Mountain Institute aims to bring “writers and the literary imagination into the heart of public life through events, fellowships, publications, and student engagement opportunities.” The Believer, a five-time National Magazine Award finalist, is a bimonthly literature, arts, and culture magazine based at the Black Mountain Institute. The 2018–2019 fellows include Hanif Abdurraqib, Lesley Nneka Arimah, Amanda Fortini, Derek Palacio, and Claire Vaye Watkins.

Aldrin Valdez is a Pinoy artist and the author of ESL or You Weren’t Here (Nightboat Books, 2018). Their poetry and visual art has appeared in the Felt, Femmescapes, Nat. Brut, Poor Claudia, and the Recluse. They have presented work at Dixon Place, the Metropolitan Museum of Art, and the Poetry Project, and been awarded fellowships from Queer/Art/Mentorship and Poets House. Currently Valdez curates the Segue Reading Series with fellow poet Joël Díaz.

On October 27 I led a workshop at the Bureau of General Services–Queer Division (BGSQD), currently hosted by the Lesbian, Gay, Bisexual & Transgender Community Center in New York City. The workshop was organized by Sarah Sala, founder of the Office Hours poetry workshop, with support from Poets & Writers’ Readings & Workshops program. I haven’t led many workshops before, so this was an experiment of sorts. I called the craft class “The Image Is _____” and its focus, of course, was the image. A series of questions motivated this workshop:

• What is an image?
• Where and how do we encounter images today?
• As prose writers, poets, and artists who use text, how do we each relate to images?
• Do images factor into our individual works?
• How can we use images to surprise our writing?
• Is there an image that haunts/grips/inspires you, will not leave you, or one that you invoke often?
• What does the image contain?
• Is the image a dam we choose to break? What language emerges if we do?
• Does the language trickle out? Or is it a torrent, flooding us/out of us into writing?
• Are we prepared to write through this flood?

To guide the workshop, I shared poems by Derrick Austin, Anne Carson, Rio Cortez, Rachel Eliza Griffiths, Lara Mimosa Montes, and Justin Phillip Reed. I see their work as having complex, dynamic relationships with images. They’re aware of how we are surrounded by, and surround ourselves with, images and the tools with which to make them. And they acknowledge and question images as historical, political, and personal. What can we learn from their works in thinking about our own creative processes?

In a series of exercises I asked the class to interact with images—those around them (the BGSQD bookshop and the Center are filled with art) and those on their phones (if they had phones)—as catalysts for writing. One particular exercise, inspired by poems from Justin Phillip Reed’s Indecency (Coffee House Press, 2018) and Lara Mimosa Montes’s The Somnambulist (Horse Less Press, 2016), encouraged the class to think of the page—either as the screen of phones and computers or as a sheet of paper in their notebooks or a printed book—as constituting in itself a visual, physical, and material experience. Do we consider the white space, for instance, as blankness, silence, emptiness, a pause, or a held breath? Does a poem require that you move the book about in your hand? Is the poem concerned with legibility? What happens when a photograph precedes the text or a text precedes an image—how does that affect the experience of reading and our subjective ways of making meaning?

As a visual artist and writer, I enjoyed sharing these questions and activities with the class. It was thrilling to be writing together for a few hours, immersed in poetry—a collectivity I’ve been missing lately. I left the space feeling uplifted by the vulnerability and tenderness with which the group thoughtfully engaged and shared with each other.

Support for the Readings & Workshops Program 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 Frances Abbey Endowment, the Cowles Charitable Trust, and the Friends of Poets & Writers.

Author, journalist, and war correspondent Anna Badkhen has been awarded the second Barry Lopez Visiting Writer in Ethics and Community Fellowship. Badkhen will spend several weeks in residence in Hawaii, where she will also participate in outreach events and present a public talk on the social responsibility of contemporary writers.

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Sponsored by the Manoa Foundation of Honolulu, the Barry Lopez Visiting Writer in Ethics and Community Fellowship was established in 2015 by Frank Stewart and Debra Gwartney to honor the seventieth birthday of acclaimed writer and naturalist Barry Lopez, who is the author of fourteen books of fiction and nonfiction, most recently the short story collection Outside (Trinity University Press, 2014). The fellowship is given to a writer whose work, like Lopez’s, “contributes to an awareness of the civic and ethical obligation of artists; that helps us understand, through storytelling, that the survival of a human world depends upon a commitment to integrity, empathy, and compassionate reconciliation; and inspires us to take social responsibility for the perils, which we have created ourselves, to the human and non-human world.”

The fellowship provides several weeks of solitude and support in a quiet environment where writers can work on a project of their choosing. There is no application process. Fellows are nominated and chosen by a committee of editors and writers. In addition to Barry Lopez, this year’s selection committee included poet Jane Hirshfield, writer Pico Iyer, and Frank Stewart, editor of Manoa: A Pacific Journal of International Writing. The fellowship and the public presentation are sponsored in part by the Manoa Foundation of Honolulu. Additional support is provided by the Halekulani Hotel, Waikiki.

Born in the Soviet Union, Anna Badkhen moved to the United States in 2004. She is the author of six books of nonfiction, including most recently Fisherman’s Blues: A West African Community at Sea (Riverhead, 2018) and Walking With Abel: Journeys With the Nomads of the African Savannah (Riverhead, 2016). She has also written about wars in Asia, Africa, and Europe for Foreign Policy, the New Republic, the New York Times, the Common, the Boston Globe, and other newspapers and journals.

The winner of the first Barry Lopez Fellowship was novelist Ann Pancake.

Rich Soos is the editor of Cholla Needles, which publishes a monthly literary magazine and poetry collections by local authors of the Joshua Tree community in California’s San Bernardino County. The Cholla Needles Arts & Literary Library aims to keep people excited about poetry through writing workshops and a monthly reading series. Soos is the author of over twenty poetry collections and was the editor for Seven Stars Poetry from 1973 to 1998.

The name of the magazine, Cholla Needles, came from a poem I wrote after I fell on a cholla cactus and its needles stuck in my hand and foot. When I made the decision to start a new magazine, I used that poem to inspire my mission statement—asking writers to submit poems that would “stick with you” and make the magazine memorable.

Each monthly issue of Cholla Needles is celebrated with an open reading and a featured poet. The readings take place outdoors in the beautiful desert of Joshua Tree, California, on the second Sunday of each month.

The audience of forty to fifty neighbors is often joined by visitors from around the world, there to explore Joshua Tree National Park. Readers have come from many countries including Ireland, India, Britain, Italy, Germany, and Brazil. Hardcore locals arrive each month too, no matter what the heat (even at 110 degrees in summer), because it’s simply a joy to celebrate poetry together.

In October, our reading began with a dance performed by youngsters from the community to a new poem by Kim Martin. The party continued with twenty-one other readers, and then the featured reader Juan Delgado, who shared poems from each of his fine collections.

Juan traveled “up the hill” from his home several hours away to delight the audience with early poems that celebrate the joy of youthful discovery, and poems from his newer collections, which celebrate how the passing of old friends enhances our deep understanding of life.

Our featured readers are supported in part by a grant from Poets & Writers’ Readings & Workshops program. This support allows us to have poets visit from outside the area and keep our monthly parties fresh and exciting. There is tremendous appreciation from featured readers and audiences for Poets & Writers’ support. It provides a sense of pride knowing that someone from outside the area cares enough to help out in this way.

The time and location for our monthly readings are announced on our website. Visitors to the area are always welcome to bring their own work to share with us during the open reading portion of the party.

Support for Readings & Workshops in California is provided by the California Arts Council, a state agency, and the National Endowment for the Arts, a federal agency. Additional support comes from the Friends of Poets & Writers.