Poets & Writers Blogs

Patricia Roth Schwartz Isn't Afraid of Doing it Wrong

Writer Patricia Roth Schwartz blogs about facilitating a memoir writing workshop series in historic Seneca Falls, New York.

It’s a beautiful spring day in historic Seneca Falls. We meet in the town Recreation Center, a low brick building on the canal, which connects to the Erie, where lazy houseboats drift by on the gentle green waters dotted with ducks and waterfowl. The room we have has one enormous windowed wall. Four participants, two middle-aged and two seniors, regulars at most of the literary programs held locally, have gathered.

We plunge into our topic: "Telling the Stories of our Lives: Writing the Personal Memoir." After some discussion, we start an exercise. Following the guided visualization, everyone is asked to write from a childhood memory. As we’re beginning, a woman and her twelve-year-old daughter join us, apologizing for their lateness. I initiate introductions, settle the latecomers into chairs, bring them briefly up to speed, then encourage them both to start writing. The mother goes ahead, but the girl just sits, looking scared and confused. We’d advertised the workshop to all ages, but she's the only youngster. Her mother said she loves to write, but right now I know exactly how she’s feeling, afraid of embarrassing herself, of doing it "wrong."

My background as a psychotherapist jumps into play. "I'll help you," I say, and hunker down beside her. "Who were you thinking of?" "My granddad," she whispers. "Okay—great. Can you write him a letter, telling him what you remember?" She thinks about it. "Yes!" Her pen leaps to the page. "Good—good—keep going," I say. "Put in a lot of details, like you were looking at it in a movie."

Before we knew it, everyone, including the girl, has completed a piece. One by one the writers read aloud. When it's her turn, the girl is pleased with and excited by her letter. She shares it willingly, how her granddad would hoist her up on his shoulders when she was really little and carry her around. The group loves it and tells her as much.

"Okay," I finish. "Now when you go home, write it up really nicely and mail it to him!" The young girl beams.

Photo: Patricia Roth Schwartz. Credit: Sandy Zohari.

Support for the Reading/Workshops 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.

Ashbery Wins National Book Foundation Medal

Poetry and art world icon John Ashbery will be honored in November with the National Book Foundation's twenty-first Medal for Distinguished Contribution to American Letters. The eighty-four-year-old author of Notes From the Air (Ecco, 2007), Self-Portrait in a Convex Mirror (Viking, 1975), Some Trees (Yale University Press, 1956), and dozens of other volumes of poetry and prose will receive the award along with the winners of this year's National Book Awards at the foundation's annual dinner on November 16.

Also recognized will be Mitchell Kaplan, one of the founders of the twenty-seven-year-old Miami Book Fair International and a former president of the American Booksellers Association. Kaplan will receive the Literarian Award for Outstanding Service to the American Literary Community, previously awarded to advocates of the written word such as Dave Eggers, Lawrence Ferlinghetti, and Terry Gross.

The foundation will announce its finalists for the 2011 National Book Awards on October 12 at Portland's Literary Arts Center, with Oregon Public Radio broadcasting the event locally and online. The winning authors will be revealed on the night of the benefit dinner.

In the video below, Ashbery, who in 2008 won the international Griffin Poetry Prize (sponsored by the Canadian organization the Griffin Trust), reads "Interesting People of Newfoundland" from Notes From the Air.

Kay Ryan Wins "Genius" Fellowship

This year's MacArthur Foundation Fellows, commonly referred to as recipients of the organization's "Genius" grant, have been announced. Among a class of fellows that includes a virologist, a cellist, an architect, a lawyer for elder rights, an evolutionary geneticist, and a silversmith, poet Kay Ryan is honored for her "deceptively simple verse of wisdom and elegance."

Ryan, who from 2008 to 2009 served as the sixteenth U.S. poet laureate, will receive the five-hundred-thousand-dollar prize, designed to encourage continued work, but with "no strings attached," over the next five years. Author of seven collections, she was honored earlier this year with the Pulitzer Prize for her latest book, The Best of It: New and Selected Poems (Grove Press, 2010).

Translator and poet A. E. Stallings, whose work is influenced by her training in classical Greek and Latin, also received the fellowship. Currently living in Athens, Stallings is recognized for "revealing the timelessness of poetic expression and antiquity's relevance for today." Aside from her translations of Plutarch, Lucretius, and other classical writers, her original works include Hapax (2006) and Archaic Smile (1999). A new poetry collection, Olives, is forthcoming in 2012 from TriQuarterly Books. 

For biographies of and interviews with the 2011 fellows, who range in age from twenty-nine to sixty-seven and represent ten states, plus Washington, D.C., Greece, and British Columbia, visit the MacArthur website.

In the video below, Ryan describes the impact of the MacArthur grant, especially for a writer at sixty-five, and where she is in her work, "always just beginning."

Patricia Roth Schwartz Tours Seneca County

Longtime P&W-supported writer Patricia Roth Schwartz blogs about the literary happenings across Seneca County, New York.

What can you say of a region that boasts scenic views rivaling those of England's Lake Country? Where grapevines laden with fruit slope down to lakeshores in late summer? Where over one hundred wineries offer tastings, lakeside cafés? Eleven lakes offer angling, paddling, and sailing. Mennonites’ horses and buggies traverse country roads creating a landscape that seems over a century old.

It's a poet’s world. Making connections with other poets and writers, though, isn't easy. Without the kinds of venues more urban areas can sustain, this loose collection of hamlets, villages, townships, and two small cities, Auburn and Geneva, has had no central clearinghouse for writers.

Still, we're out here. Some at local colleges, some transplanted, educated and polished, others untutored having written secretly for years. We are seniors eager to write memoir, teens braving an open mic, mothers with toddlers and manuscripts in tow, retirees finally finding time to write.

The number of literary events, and venues for them, has grown in recent years. Public libraries offer most of the literary programming: readings by published authors, writing workshops, poetry readings. An evening at Seneca Falls Public Library on April 1st, with featured readers and an open mic, was particularly successful. The Seneca County Arts Council which maintains a small space in Seneca Falls full of vibrant artwork, has also hosted literary-based workshops.

Mary Genter, aka "Marabee, your hometown muse," has started a reading series at Riverbend Café in Auburn. Charlotte Dickens of Watkins Glen has curated a P&W-supported reading series, now held in Montour Falls near the southern tip of Seneca Lake, for twenty years. I've begun an open mic series at ZuZu Café in Seneca Falls. Writer/ publisher Steve Tills sponsors events at Buffalo Bill's Family Restaurant and Tap Room in Shortsville; John Cieslinski of Macedon, uses his charming bookstore, Books, Etc., for readings and author appearances. Fatzinger Hall above Waterloo Library, a Victorian lecture hall where Susan B. Anthony and Frederick Douglas both appeared, hosts a reading series.

We learn about what’s happening through e-mails, fliers, news articles, and word of mouth. As a sense of community begins to gel, Tills and I have formed a grassroots organization, the Literary Guild of the Finger Lakes, hoping to bring all of this together. Our inaugural P&W-supported reading, "An Evening of Poetry," at Fatzinger Hall, was attended by poets from Auburn, Geneva, and Rochester.

Should you travel here, look for me lakeside, sipping wine and writing poems.

Photo: Patricia Roth Schwartz. Credit: Sandy Zohari.

Support for the Reading/Workshops 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.

To Bill, or Not to Bill

We've caught some buzz over the past few days about an organization called the World Poetry Movement holding a Bill Murray Poetry Contest. While there's no promise on the contest website that the beloved actor will actually read the poems written "for" him, our friends in the poetry world are embracing the challenge with whimsyafter all, the competition, which promises one thousand dollars and publication (plus possible "recording"), is free.

Blogger Kelly C at Videogum, who pens a wonky sonnet for the actor, breaks it down, "Well, I don’t know. Obviously this raises a lot of questions that I wasn’t able to answer with a quick look at the website. Publication where? Who would record it and for what? What is this thing even about at all? But it doesn’t matter, because when you win it you will win one thousand dollars apparently, from someone, and who couldn’t use an extra one thousand dollars from someone?"

The Poetry Foundation's Harriet blog gave the contest a shout-out too, though, unlike Ms. C, no staffer took a stab at a Murray tribute poem. However, someone does hope to have arrived at the winning title, courtesy of Murray's Herman Blume: "Yeah, I Was in the Shit."

Whether or not you get in on the action (entries are due on September 30), check out Murray's poetry reading for construction workers on a break from building a new home for New York City's Poets House in 2009. (Perhaps the Rushmore-esque music will inspire a your Murray muse.)

A New Literary Agency Announced

Rachel Sussman and Terra Chalberg befriended each other a decade ago as young editors at Scribner. Later, Chalberg joined the Susan Golomb Literary Agency as an agent and director of foreign rights. (Susan Golomb is the long-time agent of Jonathan Franzen.) Sussman moved on, too, becoming an agent for the Zachary Shuster Harmsworth Agency, where she worked for six years.

Yesterday, the two peers announced the launch of a new literary agency, Chalberg & Sussman, which will offer an "unwavering commitment to helping emerging and established authors reach a broad audience across multiple platforms." With Chalberg managing the agency’s foreign rights alongside an international group of co-agents, the agency already has an impressive list of clients, including Margaux Fragoso, author of the New York Times best-selling memoir, Tiger, Tiger (Farrar, Straus and Giroux, 2011); Hal Herzog, professor of psychology and author of Some We Love, Some We Hate, Some We Eat: Why It's So Hard to Think Straight About Animals (Harper, 2010); and Andrew Porter, Flannery O’Connor Award-winner for The Theory of Light and Matter: Stories (University of Georgia Press, 2008), among numerous others.

John Murillo's Voice Exercises

P&W has supported poet John Murillo’s readings and workshops with organizations such as Page Meets Stage, the Gwendolyn Brooks Center, and Insight Arts. His first poetry collection, Up Jump the Boogie (Cypher 2010), was a finalist for the 2011 Kate Tufts Discovery Award and runner up for the PEN Open Book Award. This fall he joined the University of Miami as visiting assistant professor of creative writing. Murillo generously shared some of his experience as a writer with us.

What are your reading dos?
Always be considerate of your co-features and adhere to schedule. It's never a good look to read so long that other readers have to decide, on the fly, which of their poems to cut from their set.

… and your reading don’ts?
Don't ignore your audience. Sounds like a no-brainer, but I've suffered through too many readings where poets simply read poem after poem without any interaction with the crowd. Hearing poems read aloud and reading from the printed page are different experiences—each offering something you can't get from the other—and should be treated as such. Introduce poems, tell a joke or two. Let the people get to know you a bit, spend some time. If we (the audience) wanted only the words printed on the page, we could read to ourselves at home... for free.

How do you prepare for a reading?
The first thing I need to know is how much time I have. Then, I plan my set—not just timing the poems themselves, but allowing time for interaction—to fit within those parameters. I'll spend time with the poems I've chosen, reading them aloud, listening for the music or lack therein. I imagine how certain poems may land with certain listeners—emotionally, sonically, etc.—and try to create an arc that provides them with an experience worth leaving the house for. I sometimes do breathing and voice exercises too, to keep my “chops” up.

What’s your crowd-pleaser, and why does it work?
In the past, I've read poems I myself didn't care for too much, simply because of the way I knew audiences would react. I'd get a laugh or two, maybe some applause, but nothing like a real connection. I've realized over the years that people just want to hear good poems. Typically, the same poems that “work” on the page also read well live. No matter the venue. The danger for me lies in relying too heavily on these poems, becoming too comfortable reading poems I know will go over well. There's very little vulnerability in that and if one isn't careful, that laziness can creep into the writing, and then the poems themselves become safe. To hell with that.

How does giving a reading inform your writing and vice versa?
I believe poems are meant to be shared, read, and listened to. From one's lips to another's ear, or from one's hand to another's eyes, no matter. The live reading is something that never lets me forget that I am a human being reaching out to, trying to communicate with, other human beings. This definitely affects the choices I make when writing and revising.

What’s been your most rewarding experience as a writing teacher?
What I love most is when students begin to claim their own voices. In a society that cultures young people into silence and, by extension, apathy, there are few things as powerful as a young writer asserting her right to be heard. And there are few things as satisfying for the teacher as knowing you had a little hand in the midwifing of this new and necessary voice.

Photo: John Murillo. Credit: Rachel Eliza Griffiths.

Support for Readings/Workshops events in Chicago is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.

Support for Readings/Workshops 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 Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and the Friends of Poets & Writers.

Six German Novels to Watch

The Association of German Publishers and Booksellers Foundation (Börsenverein des Deutschen Buchhandels Stiftung) has announced the five finalists for its 2011 German Book Prize. The winning novelist will receive twenty-five thousand euros (approximately thirty-four thousand dollars).

The shortlisted books are Against the World by Jan Brandt, Das Wunderhorn by Michael Buselmeier, The Girl by Angelika Klüssendorf, Blumenberg by Sibylle Lewitscharoff, In Times of Fading Light by Eugen Ruge, and The Hurtress by Marlene Streeruwitz. None of the shortlisted books have yet to be translated in the United States—after all, the art of translation takes time—but given the track record of German Book Prize honorees, perhaps these authors will appear on this side of the Atlantic in the near future.

It may have taken a few years, but 2007 winner Julia Franck saw her winning novel, Die Mittagsfrau (Lady Midday), published in English last year as The Blindness of the Heart (Grove Press). And 2006 winner Katharina Hacker's novel Die Habenichtse was published as The Have-Nots two years after her award by Europa Editions. Just this past April, inaugural 2005 prizewinner Arno Geiger saw his novel Es geht uns gut appear in English as We Are Doing Fine (Ariadne Press).

The 2011 winner will receive the award in mid-October at the Frankfurt Book Fair, where finalists will also receive prizes. The five remaining authors will take home twenty-five hundred euros (roughly thirty-four hundred dollars) each.

Poetry Contest Seeks Real and Imagined Landscapes

Zócalo Public Square, a Los Angeles–based web forum for ideas and literature, began accepting entries last week for a poetry contest sprung from Zócalo's mission to further understanding of citizenship and community. The "living magazine," which combines online journalism with lectures and other real-world events, will consider poems that evoke a sense of place for a one-thousand-dollar prize and publication on the Zócalo website.

“'Place' may be interpreted by the poet as a place of historical, cultural, political or personal importance," say the guidelines on the contest page. "It may be a literal, imaginary or metaphorical landscape. We are looking for one poem that offers our readers a fresh, original, and meaningful take on the topic."

Poets may send up to three poems via e-mail by November 5. There is no entry fee.

The winner will be announced next March in conjunction with the recipient of Zócalo's second annual book prize, a five-thousand-dollar award recognizing a work on the topic of community published in the United States. (There is no submission process for the book award.)

Patricia Roth Schwartz Mines the Terwilliger Museum

Writer Patricia Roth Schwartz blogs about facilitating a P&W-supported workshop series at the Terwilliger Museum in Waterloo, New York.

A graceful Queen Anne structure, the Waterloo Library & Historical Society, which opened in 1880, is the first building in New York State built as a library. In 1960 a local businessman donated funds to open an attached museum of Waterloo history, which bears his name: Terwilliger. The Terwilliger Museum’s a spooky place. It is low-ceilinged, dim, and its two floors are partitioned into several areas filled with antique dolls, guns, china, vintage fire-fighting equipment, musical instruments, Native American artifacts, and the replicated interiors of both a pioneer cabin and a country store.

I’d written a grant proposal to Poets & Writers for a three-week workshop: Writing Your Way Through History, the first program ever held in the museum. I showed up at the appointed time, fully expecting no one to be there. In semi-rural areas, the hardest aspect of putting on an event is publicizing it, and we hadn’t done much. Even so, right on the dot, several people climbed the stairs to meet me. A short while later a few others arrived. In all, seven people attended at least part of the program, including a fourth-grader, granddaughter of a Terwilliger Museum member. Armed with a sheet of writing prompts I’d given them, participants explored the museum, searching for characters and stories amongst the museum’s holdings. After an hour, we retired to a cozy nook with tables and chairs in the library adjacent to the museum, an ideal writing space.

Everyone was busy except Mary Alice, a feisty, intelligent woman in her 70s who used to write a column for a local paper but stopped. She’d been suffering from writer’s block, she told me, but arrived to the workshop with a brand new baby blue journal. Now she sat frozen before a blank page. I walked up to her and asked quietly, "Who's your character?" "Grandma," she said. "Okay–What's happening? Tell the story," I eagerly replied. A heartbeat passed. Her pen rose to the page. "It's Midge." And out the story poured. Inspired by the exhibit of a 1920s dressed mannequin doing laundry on a washboard in a galvanized tub, Mary Alice told the story of tomboy "Midge" (herself), getting her clothes dirty and "Grandma," instead of getting mad, simply offering, "I'll teach you how to wash them."

Everyone else in the group (as if by some alchemical change that affected them all simultaneously) wrote astonishingly excellent stories, each set in an historical context. Eagerly they read aloud to each other. By the end of our sessions, a writers’s group of five of the attendees had formed and continues to meet, planning a blog and a chapbook to showcase their work. Best of all, Mary Alice called to tell me she’d resumed writing her column and even received a raise in pay for it!

Photo: Patricia Roth Schwartz. Credit: Sandy Zohari.

Support for the Reading/Workshops 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.

Susannah Risley's Different Kind of Workshop

Fiction writer Susannah Risley blogs about her experience conducting workshops with diverse populations at Schenectady County Public Library in upstate New York. 

I've taught in minimum security prisons, homeless shelters, rural libraries, and senior centers across New York State. Each group requires a slightly different approach to teaching. People in homeless shelters don't often write about their pasts, but respond positively to learning to observe the present. Prisoners need to feel great respect for their stories. They are hungry for knowledge and drink up the examples from literature that I bring to inspire their writing. Seniors need to be urged past their internal critics that say their lives have been unimportant.  They feel a renewed sense of purpose in life as their stories pour forth. It is a joy to see people from all walks of life get excited about writing. It changes lives. It changed mine.

Recently, I wanted to try my hand at a different kind of writing workshop. I'd reread Jack Kerouac's On The Road to see if it held up for me. It did. I began to read some of the vast history of travel writing, and was delighted to envision solo travelers in distant times making their way across China, Afghanistan, Greece, or Persia. They recorded vital, specific details, just as a modern traveler must, to bring the world to life on paper. Wanting to share what I learned, I approached the Schenectady County Public Library about facilitating a travel writing workshop.

Twenty participants signed up for the five-session Travel Writing Workshop: Writing Your Own Road.  People had traveled to, or were leaving for, Tanzania, Guatemala, Brazil, Italy, Scotland, India, and Paris. They had much to say, and, like many new writers, needed direction about how to begin and keep going.

An Indian scientist was overjoyed to break out of the strictures of science writing to describe her experience in Italy as colorfully as she wished. A college student did a performance poem about Times Square. A shy woman wrote about her first journey away from Guatemala as she watched houses and volcanoes appear toy-sized from her plane window. A German immigrant described her sister's spacious home in Albany from the perspective of someone who escaped great difficulties. A teen described going to see The Rocky Horror Picture Show in the Adirondacks with her family. An East Indian man, visiting his daughter, took us on a tour of Walden Pond and we learn of Gandhi's connection to Thoreau through civil disobedience. We see the old copy of the Bhagavad-Gita in Thoreau's reconstructed cabin and are astonished. The group was charged with new energy and decided to keep meeting. I was thrilled to have taught this class. Everybody won! 

Photo:  Susannah Risley and workshop participants.  Credit:  Karen Bradley.

Support for Readings/Workshops 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.

Novels by DeWitt, Edugyan Up for Another Major Fiction Prize

The recently-released longlist for Canada's Scotiabank Giller Prize, worth fifty thousand dollars Canadian, has echoes of the Man Booker Prize shortlist. The two Canadian novelists, Patrick deWitt (The Sisters Brothers) and Esi Edugyan (Half Blood Blues), up for Britain's major book prize are also in the running for one of their home country's top literary honors.

Also longlisted for the Giller are:
The Free World by David Bezmozgis (HarperCollins)
The Meagre Tarmac by Clarke Blaise (Biblioasis)
The Antagonist by Lynn Coady (House of Anansi)
The Beggar's Garden by Michael Christie (HarperCollins)
Extensions by Myrna Dey (Nunatak First Fiction)
The Little Shadows by Marina Endicott (Doubleday)
Better Living Through Plastic Explosives by Zsuzsi Gartner (Hamish Hamilton)
Solitaria by Genni Gunn (Signature Editions)
Into the Heart of the Country by Pauline Holdstock (HarperCollins)
A World Elsewhere by Wayne Johnston (Knopf)
The Return by Dany Laferrière (translated from the French by David Homel) (Douglas & McIntyre)
Monoceros by Suzette Mayr (Coach House Books)
The Cat's Table by Michael Ondaatje (McClelland & Stewart)
A Good Man by Guy Vanderhaeghe (McClelland & Stewart)
Touch by Alexi Zentner (Knopf)

Dey's Extensions has already received a Giller honor of sorts, being nominated via public vote for a spot on the longlist. The debut novel had the most nominations out of the roughly four thousand received last month by the Canadian Broadcasting Company (CBC), a sponsor of the Giller. (The CBC is now inviting Canadian residents to select their own shortlists from the semifinalists, for a chance at taking home some literary booty: a Kobo e-reader, a gift certificate to Canadian bookseller Chapters Indigo, and a set of the finalists' books.)

The shortlist will be announced later this fall, followed by the winner ceremony, broadcast by the CBC on November 8.

The video below is a trailer for deWitt's novel, set across the border in the American West of the 1850s.

Debuts Up for Man Booker Prize

The shortlist for the 2011 Man Booker Prize was announced today, including first-time novelists Stephen Kelman and A. D. Miller. The two, along with four other authors, are in contention for a prize of fifty thousand pounds (approximately eighty thousand dollars).

The shortlisted titles, chosen from thirteen semifinalists, are The Sense of an Ending by Julian Barnes (Jonathan Cape), Jamrach’s Menagerie by Carol Birch (Canongate Books), The Sisters Brothers by Patrick deWitt (Granta), Half Blood Blues by Esi Edugyan  (Serpent’s Tail), Pigeon English by Kelman (Bloomsbury), and Snowdrops by Miller (Atlantic). DeWitt and Edugyan both hail from Canada, and the other four authors are British.

On October 18 the winner will be announced at London's Guildhall. The five runners-up won't leave the ceremony empty-handed; each will receive an award of twenty five hundred pounds (about four thousand dollars).

Patricia Roth Schwartz Owes Ovid

For the month of September, longtime P&W-suported writer Patricia Roth Schwartz blogs about her experience in Seneca County, New York.

October in the Finger Lakes flares out in a profusion of color: scarlet maples, golden beech, burgundy sumac. Deer leap across country roads. I drive to the tiny village of Ovid where history has left its imprint, especially in the form of a charming set of Greek Revival county courthouse buildings (now a museum) in descending sizes known as The Three Bears.

I eat my picnic lunch at a table outside the adorable structures (Baby Bear is as big as a child’s playhouse) savoring sunshine and drifting leaves. Spotting a tiny thrift shop across the street, I'm there in a flash. It’s full of almost all new clothes, each item a dollar! Soon, clutching five items, I approach a sweet-faced lady in her 80s who serves as volunteer cashier. Suddenly I realize I've left home with no cash! The thrift shop does not accept credit cards or checks. The cashier tells me I can come back later to pay. "We close at one.” I say, "But I'm doing a poetry reading at the Edith B. Ford Memorial Library." I point to the flyer in the store window.

Behind me another shopper speaks up. "Here—" she pushes a five dollar bill toward me. "I'll send you a check," I say and thank her profusely. She says, "No need." "I'll come over to the library," offers the cashier, Anna, who'd been telling me earlier about growing up nearby on a farm. "You said a friend of yours was coming." "Yes, I can borrow five dollars from her," I say. So it's settled; I go next door to a small supermarket. I need a Reese's Peanut Butter Cup. (It's been that kind of day.) I have a little change; I'm sure it’s enough. But at the cash register I’m counting out pennies. Behind me, another Ovid angel appears. A young man plunks down coins, insists on paying for me. I walk across the street to the library in a pleasant daze, convinced I‘ve entered another plane of existence, one that is utterly charmed.

A small group gathers for my reading. I sit in a comfy rocker in the children's reading nook, encouraging everyone to sit in a semicircle around me. Halfway through the reading, Anna, the thrift shop cashier, enters. She's brought her lunch, a large submarine sandwich. Sitting discreetly at the back table, she eats it, crumples up the wrapper, then moves up to the semicircle. I read poems about my family, my childhood in West Virginia—memories, stories. Afterward we talk. "When I was married," the widowed Anna says, "I had a notebook I used to write in. My husband thought I was pretty good." I don't think Anna has ever been to a poetry reading before. We encouraged her to get another notebook and start up again.

Photo: Patricia Roth Schwartz. Credit: Sandy Zohari.

Support for the Reading/Workshops 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.

Shihan Speaks Out About Spoken Word

From July 13 to 16, 2011, P&W-supported poets Mayda Del Valle, Oveous Maximus, and Shihan participated in inkSlam, Los Angeles’ largest spoken-word festival, held at the Greenway Court Theatre.

The four-day event featured daily writing and performance workshops and nightly showcases celebrating the creative landscape of artists on the slam poetry scene.

Over one hundred poets, including burgeoning rhymesters and veteran Tony Award winners, graced the stage of the Greenway Court Theatre, as a sold-out audience cheered them on night after night.

“InkSlam allowed L.A. residents to see poetry in a light different from the one they were used to,” said inkSlam director Shihan Van Clief, who performs as Shihan. He is also a founding member of Da’ Poetry Lounge, the nation’s largest ongoing open mic series, which takes place Tuesdays at Greenway Court. “Most people have a junior high or high school reference point for poetry, which was, for a lack of a better term, ‘old’… We offered poetry from a young perspective.”

ShihanThe festival aims to re-brand poetry as something anyone and everyone can enjoy, according to Van Clief. There were craft workshops geared towards the youth as well as business workshops to better inform poets on how to make art their livelihood in today’s multifaceted market.

InkSlam evolved from the partnership between the nonprofit organization Greenway Arts Alliance and Da’ Poetry Lounge. As Van Clief recalls, the idea for inkSlam came in 2009.

“[The poetry scene] had been defunct for years,” said Van Clief. “There was and is still a definite need for more art-based programs in L.A., and we figured this would be a good starting point; we wanted to create the best poetry festival Los Angeles has ever seen.”

Now inkSlam is making that dream a reality. A spoken-word competition was added to the festival’s agenda, making inkSlam a true poetry slam. In good fun, eight teams competed for the title of inkSlam champion over the course of the last two days of the festival.

Da’ Poetry Lounge, the seasoned home team, came in first, with a team from Santa Cruz finishing an incredibly close second.

“Santa Cruz Slam team snuck in under the radar and surprised a lot of folks,” said Van Clief. “Their group work was just very well thought out and executed to a tee; they made me rethink some of the group material our team had.”

To ensure that the festival would end on the most engaging, and humorous, of notes, the second place team received their $750 cash prize in quarters, leaving third and fourth place winners to receive theirs in dimes and pennies respectively.

Photo: Shihan at a workshop about the business of spoken word. Credit: Cheryl Klein.

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