A Whale of a Tale

The life-size blue whale model displayed at the American Museum of Natural History in New York City—nearly one hundred feet long and over twenty thousand pounds—recently had its annual cleaning. Write a short story with a scene in the museum during this two-day long process, perhaps describing some of the images taken of the huge animal model being vacuumed by the exhibition maintenance manager in a cherry picker. Does this scene act as a backdrop to the main drama of the story, or have metaphorical significance? Are your characters directly impacted or involved with the unusual cleaning process?

I Spy With My Little Eye...

Something beginning with the letter D. Something metallic. Something green. Something winding. Write a poem inspired by I Spy, the guessing game popular with kids during car rides and other long periods of downtime, in which the spy offers descriptive clues that hint at a visible object for other players to guess. Use this as an exercise to expand your vocabulary and the way you observe and perceive an emotion, person, situation or an object.

It Happens Every Spring in Harlem: A Festival of Poetry

Gregory Crosby is the author of Spooky Action at a Distance (The Operating System, 2014) and The Book of Thirteen (Yes, Poetry, 2016). He teaches creative writing for the College Now program at Lehman College in Bronx, New York.

The Harlem Rhymers are laying it down, beating out the rhythm of the poem with claps and snaps, a row of middle school girls in matching white T-shirts that pop against the red-curtained backdrop of the Marian Anderson Theater stage, bringing the words home and the house down with their choreographed truth:

Pretty hurts, yeah
We know
But these scars aren’t
Here just for show
Work to be skinny
Work to get money
You’re already beautiful enough
That’s the truth, honey!

After the wild applause dies down, these students from PS/IS 180 beam as they pose for photographs with author Jacqueline Woodson, the 45th Special Guest Poet at the City College of New York’s Annual Poetry Festival. Every May for nearly a half-century, students from New York City public schools have gathered to read their winning poems at this day-long celebration of the spoken word, and to hear poets and writers like Woodson (whose appearance was funded in part by the Readings & Workshops program at Poets & Writers) read their work, along with student poets in the MFA Creative Writing program at the City College of New York (CCNY), faculty, and others.

Founded by the poet Barry Wallenstein, the Poetry Festival is the culmination of a year’s work by the CCNY Poetry Outreach Center. Directed by poet and YA author Pamela Laskin, the center sends mentors into New York City schools to conduct poetry workshops; the day’s readings by elementary and middle school poets are the fruit of those sessions. In the afternoon, the winners of the citywide high school poetry contest (sponsored by Alfred K. Knopf), read their poems from the stage. In addition to reading their work aloud for peers and parents, these students enjoy the thrill of seeing their work in print. All poems read on the day of the festival are collected and published in the autumn in the annual anthology Poetry in Performance. Copies are sent to all participants as well as to school libraries around the city.

In the current educational landscape, when poetry as a subject is often sadly shunted aside in favor of mandatory (and seemingly endless) standardized test preparation, CCNY’s Poetry Outreach Center offers many students crucial exposure to the pleasures of writing poetry. Thanks to the contributions of donors, particularly the generous and stalwart support of the Poets & Writers Readings & Workshops program, the center continues its mission, adding new participating schools nearly every year and welcoming returning ones. Every year or two, a new crop of Harlem Rhymers finds the voice that only poetry can give, and takes the stage at the festival to wow another audience with the power of that voice.

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 Friends of Poets & Writers.

Photos: (top) Gregory Crosby (Credit: Gregory Crosby). (bottom) Jacqueline Woodson and the Harlem Rhymers (Credit: Lesley Simmonds).

Parental Territory

“Of course, everyone’s parents are embarrassing. It goes with the territory,” Neil Gaiman wrote in Anansi Boys (William Morrow, 2005), a novel about two brothers who are brought together after the death of their father. Think back to an embarrassing parent-child event from your past in which you were either the child or the parent or guardian figure. Write a personal essay that uses this incident as a pivotal point from which to explore the “territory” of your relationship during that particular time. Did this incident have further repercussions? Does the point of view you’ve chosen allow you to sympathize with or find humor in the innocence of youth or the wisdom of age? What does the situation reveal about your specific parent-child relationship and about parent-child relationships more generally?

Center for Fiction Announces Fellows

The Center for Fiction has announced the recipients of the 2017 NYC Emerging Writers Fellowships. Nine awards of $5,000 each are given annually to emerging fiction writers living in New York City.

The 2017 fellows are Amna Ahmad, Charlotte Crowe, Dana Czapnik, Erik Hoel, Andrew Mangan, Crystal Powell, Maud Streep, Alexandra Tanner, and Hubert Vigilla.

In addition to the cash prize, the winners will also receive yearlong studio space at the Center for Fiction in New York City and the opportunity to meet with agents and editors, and will give two public readings. Manuel Gonzales, Alexandra Kleeman, and Téa Obreht judged. Visit the Center for Fiction website to find out more about the winners.

Since 2010, the Center for Fiction’s Emerging Writer Fellowship program has supported sixty-two New York City–based early-career fiction writers. Writers living in any of New York’s five boroughs are eligible to apply each year.

(Top row from left: Amna Ahmad, Charlotte Crowe, Dana Czapnik; Middle row: Erik Hoel, Andrew Mangan, Crystal Powell; Bottom row: Maud Streep, Alexandra Tanner, and Hubert Vigilla)

 

Cherry Pie

5.31.17

One of the elements that makes David Lynch’s TV show Twin Peaks, which returns with a third season this spring, so unusual is its dreamlike combination of melodrama, horror, humor, and cast of idiosyncratic characters. Its surrealism is emphasized by the repeated appearance of mundane yet mysterious visuals—cherry pie, coffee, logs, and owls—which take on motif-like significance in the series. In literature, authors such as Haruki Murakami and Roberto Bolaño have also mixed the odd with the everyday to similar hallucinatory effect in their books. Jot down a list of objects that have had some sort of resonance in your life, even if they may seem like unexceptional items. Write a short story in which you insert these images throughout the text. Is there an intuitive dream logic that can help guide their placement? Do they have metaphorical potential?

Upcoming Fiction and Nonfiction Contest Deadlines

Fiction and nonfiction writers—if you’re sitting on a finished story, essay, or book-length manuscript of prose, check out the following contests with deadlines in the next week. Each contest offers a cash prize, from $1,000 to $5,000, and includes added benefits such as publication and paid trips to conferences.

American Short Fiction Short Story Contest: A prize of $1,000 and publication in American Short Fiction is given annually for a short story. Lauren Groff will judge. Entry fee: $20. Deadline: June 1.

Crook’s Corner Book Prize: A prize of $5,000 is given annually for a debut novel set in the American South. The winner is also entitled to receive a free glass of wine every day for a year at Crook’s Corner Café and Bar in Chapel Hill, North Carolina. Eligible novels must be set primarily in Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Maryland, Mississippi, North Carolina, Oklahoma, South Carolina, Tennessee, Texas, Virginia, West Virginia, or the District of Columbia. Elizabeth Cox will judge. Entry fee: $35. Deadline: June 1.

Nowhere Magazine Travel Writing Contest: A prize of $1,000 and publication in Nowhere Magazine is given twice yearly for a short story or essay that “possesses a powerful sense of place.” Porter Fox will judge. Entry fee: $20. Deadline: June 1.

Salamander Fiction Prize: A prize of $1,000 and publication in Salamander is given annually for a short story. Christopher Castellani will judge. Entry fee: $15. Deadline: June 1.

Southern Indiana Review Thomas A. Wilhelmus Short Prose Award: A prize of $2,000 and publication by Southern Indiana Review Press is given annually for a chapbook-length story collection, novella, novel excerpt, or work of creative nonfiction. David H. Lynn will judge. Entry fee: $20. Deadline: June 1.

Willow Springs Books Spokane Prize for Short Fiction: A prize of $2,000 and publication by Willow Springs Books is given annually for a short story collection. Entry fee: $27.50. Deadline: June 5.

Writer’s Digest Annual Writing Competition: A prize of $5,000, publication in the 86th annual Writer’s Digest Competition Collection, and an all-expenses-paid trip to the Writer’s Digest Conference in August in New York City to meet one-on-one with four agents or editors is given annually for a poem, a short story, or an essay. The winner will also be interviewed in Writer’s Digest, and will receive a subscription to the Writer’s Digest Tutorials video series. A second-place prize of $1,000 and publication is also given in each genre, including personal essay, genre short story, literary short story, and inspirational writing. Entry Fee: $30. Deadline: June 1.

Visit the contest websites for complete guidelines and submission details. Check out our Grants & Awards database and Submission Calendar for more upcoming contests in poetry, fiction, and nonfiction.

Desert Poetry: A Response to the Political Present

Feliz Lucia Molina was born and raised to Filipino immigrants who ran crisis heterotopias (board-and-care facilities) in San Fernando Valley, California. She holds a BA from Naropa University, an MFA from Brown University, and will be joining the School of Social Service Administration at the University of Chicago this fall. A poetry editor at the Los Angeles Review of Books, her books include Undercastle (Magic Helicopter Press, 2013), The Wes Letters (Outpost19, 2014), and the forthcoming Thundercastle and Roulette. Her work has appeared in Jacket2, Open Space, Fence, PEN America, and elsewhere. She is based in Chicago and the Southern California desert.

Desert Poetry was conceived and organized by me (Feliz Lucia Molina), Ben Segal, Joseph Mosconi, and Harmony Holiday. The idea for this event transpired at the beginning of nationwide marches and uprisings during the first one hundred days of the number forty-five administration. We sent out a call for the sole purpose of offering space for poets and writers to gather in the Southern California desert (Joshua Tree and Landers) to share concerns, thoughts, practices, and research on issues that are in direct response to the political present. The response to our call was overwhelming as it culminated into a series of twenty-four workshops, readings, and presentations during the weekend of April 7–9. People traveled from far distances including Chicago, Pittsburgh, Oakland, Santa Cruz, New York, Wisconsin, San Diego, and Los Angeles. It was an immediate collective and collaborative atmosphere as people volunteered to help with various tasks.

We created a private Facebook event page to share updates and information regarding the event. Noah Cicero, a writer based in Las Vegas, wrote on Facebook of the event: “Yesterday I went to Desert Poetry in Joshua Tree…. There were like forty poets in the desert, some came as far as upstate New York and Chicago, some with doctorates, some just getting their undergrad, but everyone was allowed to speak and be listened to on an equal footing. I have probably never seen a group with such a lack of hierarchy in my life.” While there were closer to eighty people in attendance, it is true that the mood was indeed non-hierarchical; this was not a goal, but was something that arose in the moment as the urgency to gather and convene was realized.

Poets & Writers provided a number of workshop grants that made it possible to host Joy KMT, Lily Hoang, Cathy Linh Che, and Harmony Holiday who led marvelous and thought-provoking workshops on Black Quantum Futurism Poetics, radical self-care, embodied fairytale magic-making, and the possibilities collectivity within a present-future Black Arts Movement.

We are so grateful to the following presenters for leading us through a collective re-alignment in the great expanse of the Southern California desert.

Zack Haber with an exercise on playful relation with the body; Jeanine Webb with Guided Stargazing and Radical Cosmology; Trinie Dalton with Hi-Desert Wildflowers, Hummingbirds, Rainbows; Elisabeth Houston with BABY; Raquel Gutiérrez with improvisational dialogic dyads & The bordering nowhere of difficult terrains; Amanda Ackerman and Michelle Detorie with Feral Writing Practices: Writing across species boundaries and across the terrestrial terrain; Mg Roberts with The bits of life. Everything. Fluxes. Fevers. (Here.) A poem.; Lisa Fishman and Richard Meier with Teaching Against Commodification; Saehee Cho with Making Flatbread While Camping (absent at the last minute but there in spirit); Suzanna Zak with How to Sleep and Eat Outside; Emerson Whitney with Trans non-assimilationism and radical alterity; Vi Khi Nao with The Ethics of Deportation; Veggie Cloud (Kate Wolf and Courtney Stephens) with a film-screening of Robert Kramer’s “MILESTONES;” Ben Segal with Open Discussion on Entering Local Politics; Avi Varma with Co-Work Space for Potential Dropouts; Danielle Pafunda and Reagan Wilson with Working Through Pain; Jennifer Scappettone with Boom, Strike, Bust-Reocuppy Mining, & Weighing the Cloud; ARMED RADII and Mayakov + sky Platform with Post-crisis Poetics: Writing the World System; Anthony McCann with Hike & Reading (to Samuelson Rocks); Melissa Mack with Sonic Meditations; and a distributed molecular guide to the Mojave exploring the poetics of scale as a tactics of resistance to dominant desert representations by Brett Zehner and Kylie King.

For more information about the full program of Desert Poetry, please visit: armsandhugs.tumblr.com. Another event in 2018 is in the planning stages to be announced soon.

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

Photo: (top) Feliz Lucia Molina (Credit: Feliz Lucia Molina). Photo: (bottom) Desert Poetry event (Credit: Feliz Lucia Molina).

Run-On Renga

5.30.17

“Renga for Obama” is an ongoing project edited by Major Jackson and published by the Harvard Review in which each linked segment is written by a pair of poets, creating a chain of verse meditating on Barack Obama’s presidency. Renga, a traditional Japanese collaborative form, consists of alternating three- and two-line stanzas: a haiku (5-7-5 syllables) followed by a couplet, each line of which consists of seven syllables, that responds to the haiku. This pattern can be repeated up to a few dozen or even hundreds of lines. Choose a current theme that you are interested in probing further with words and imagery—it could be political, aesthetic, domestic, environmental, or pop culture–related. Spend some time discussing, sharing reflections, and expressing gratitude or feelings about the topic with a friend, family member, or colleague. Write a renga together, and pass it on to others with an invitation to contribute to the chain, thereby initiating a continuing exploration.

Hisham Matar Wins £20,000 Rathbones Folio Prize

Hisham Matar has won the 2017 Rathbones Folio Prize for his memoir, The Return: Fathers, Sons, and the Land in Between (Random House, 2016). Formerly known as the Folio Prize and given exclusively to fiction books, the annual £20,000 prize is now given for a book in any genre written in English and published in the United Kingdom in the previous year.

The Return, which also won a 2017 Pulitzer Prize, follows Matar’s return to his native home of Libya in search of answers to his father’s disappearance. About the book, Folio judges Ahdaf Soueif, Rachel Holmes, and Lucy Hughes-Hallett said, “The Return shows what a novelist at the top of his game can do with nonfiction. It gives the reader the same aesthetic, the same satisfaction of the great literary works that enter our lives and stay with us forever.” In addition to The Return, Matar is the author of two acclaimed novels, In the Country of Men (2008) and Anatomy of a Disappearance (2012).

The seven finalists were The Vanishing Man: In Pursuit of Velázquez by Laura Cumming; This Census-Taker by China Miéville; The Sport of Kings by C. E. Morgan; The Argonauts by Maggie Nelson; Golden Hill by Francis Spufford; Do Not Say We Have Nothing by Madeleine Thien; and Burning Country: Syrians in Revolution & War by Leila Al-Shami and Robin Yassin-Kassab. The finalists were chosen from sixty-two books nominated by the Folio Prize Academy, an international group of writers and critics.

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