Recently I reconnected with Detroit’s Deonte Osayande, whose new collection, Recipe for the Poet, is available now from Finishing Line Press. Osayande describes this collection as a mix of both form and free verse pieces acting as a sampler ahead of his anticipated full-length collection. “It blends the lessons I’ve learned about form poetry with the relevant topics of today,” says Osayande. I also believe that this is an important approach for both readers and writers of poetry; to allow poetic forms that are often thought of as “old” to reflect on the current world.

Serving the Detroit literary community as a poet, host, and slam master for over a decade, Osayande is a well-known artist in the city and is the author of three other collections, Class (Urban Farmhouse Press, 2017), Circus (Brick Mantle Books, 2018), and Civilian (Urban Farmhouse Press, 2019).

Given Osayande’s experience publishing in literary journals and working on manuscripts, I asked what advice he would give to those who want to submit work. “Never give up and write what you know. Rejection is part of the game and happens to everyone,” says Osayande. “You just need to have the drive and passion to persevere through it. If you write about what is close to your heart, those will be the most meaningful poems.”

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At the Millions, Emily Layden writes about how campus novels offer “a portrait of a community, not just in cast but in geography, and tell us the story of the relationship between a place and its people—how they shape one another, imprint on each other, leave the other forever changed.” Layden compiles a list of the “best campus novels,” which includes The Incendiaries by R. O. Kwon, Prep by Curtis Sittenfeld, and My Education by Susan Choi, and discusses how each novel captures the intimacy of youth through the evocative and tense setting of the academic campus. Write a story set on an educational campus. Use the hierarchies inherent to the school setting—principals, teachers, counselors, seniors, freshmen—to set up the story’s conflict.

In an interview with Paisley Rekdal curated by Victoria Chang for Tupelo Quarterly, the poet discusses how she always writes in pursuit of a form. “Once I have an idea (really, more of a feeling than a subject), I’m always trying to find a way to shape the material of that feeling,” says Rekdal. As an example, Rekdal talks about her poem “Philomela,” from her book Nightingale (Copper Canyon Press, 2019), and how identifying what dissatisfied her about the poem allowed her to find a form for it. This week, find an unfinished poem that you’ve been dissatisfied with and try to express why in a brief sentence. Next, write a new poem that directly addresses this dissatisfaction. Does this exercise help you discover new forms?

Bhanu Kapil’s “Notes Toward a Race Riot Scene” from her collection Ban en Banlieue (Nightboat Books, 2015) portrays—through a flurry of fragments, brief descriptions, anaphora, flashbacks, and flash-forwards—a moment in the speaker’s life before a race riot breaks out in London in 1979. Kapil captures the unease forming in the air before the riot breaks out with the second line: “It’s about a girl walking home from school at the exact moment that her neighbor laces up his Doc Martens, tight.” Write a brief essay that depicts the surrounding atmosphere before a significant event breaks out. How can descriptions of the landscape offer context for the event?

Ocean Vuong’s debut novel, On Earth We’re Briefly Gorgeous (Penguin Press, 2019), begins as a letter: “Dear Ma, I am writing to reach you—even if each word I put down is one word further from where you are.” The letter unearths the family history of the narrator, from Vietnam to their lives in Connecticut as immigrants, capturing the deep love between a single mother and her son while asking questions that explore race, class, and masculinity. The novel is gripping from the first sentence with the inherent intimacy of the epistolary form bridging the distance between the speaker and the reader. Write a story in the form of a letter that speaks to a cherished guardian figure. Why is the letter the perfect form for what your protagonist wants to say?

Poets & Writers has launched a second round of Project Grants for BIPOC Writers to support writers in our United States of Writing cities of Detroit, Houston, and New Orleans.

Recently Poets & Writers’ Readings & Workshops program staff members and I held an informational session to help writers from all cities get to know the organization and navigate the process of applying for a project grant. I was pleased to see many New Orleans writers and familiar faces in attendance.

Grants range from $250 to $750 and can be used to pay for costs related to coordinating online literary events in the genres of poetry, fiction, or creative nonfiction. In addition, projects must take place between April 19 and June 30.

To be eligible, applicants must:

• identify as Black, Indigenous, or a person of color;
• be a resident of Detroit, Houston, or New Orleans, including the surrounding metro areas of each city;
• be a published writer of poetry, fiction, or creative nonfiction, or have performance credits as a spoken word artist.

The response to our first grant applications was well-received in all three cities, and we’re so pleased to be able to offer this second round. For New Orleans, the project grants come at a perfect time when many of our literary festivals and National Poetry Month events are going virtual.

To find out more about the project grants, watch the virtual informational session below and read about how to apply here. And if you have any questions, feel free to reach out to me at NOLA@pw.org.

Polish poet Adam Zagajewski, who died on March 21 at the age of seventy-five, was known for his intermingling of, as he once put it in an interview, the “historic world with the cosmic world that is static, or rather moves in a totally different rhythm.” The title of his poem “Mysticism for Beginners,” translated from the Polish by Clare Cavanagh, is taken from a book cover the speaker notices and then uses as an opportunity to describe his surroundings with a mystical sense of praise: “Suddenly I understood that the swallows / patrolling the streets of Montepulciano / with their shrill whistles” and “the white herons standing…like nuns in fields of rice” are only “mysticism for beginners, / the elementary course, prelude / to a test that’s been / postponed.” Write a poem “for beginners” about a concept that is explored through concrete, physical descriptions. Take a note from Zagajewski’s poem and start by writing down a list of images.

“Writing for me is no different than playing basketball, it’s my body moving among and pushing up against and being moved by other bodies of language and the energy of language,” says Natalie Diaz in an interview with Brandon Stosuy in the Creative Independent, in which she talks about the physicality of writing and how her experience as a professional athlete and her Mojave culture affect how she writes. “I don’t only feel with my body, I think with it. Even text is a physical space for me.” This week, write a short essay describing what your writing process feels like. How does articulating the way you write help focus your process?