Poets & Writers Blogs

Self-Taught Poet Among 2011 Pew Fellows

The Pew Center for Arts and Heritage in Philadelphia has announced its 2011 fellows in the arts. Poets CAConrad and Pattie McCarthy are among the twelve Philadelphia-area artists, musicians, and innovators awarded sixty-thousand-dollar fellowships.

Conrad, who has lived in Philadelphia for twenty-five years, is a self-taught writer for whom "poetry and other art disciplines are forms of courage.” Innovator of a type of writing he calls "(Soma)tic poetry""instructions and recipes that invite the reader-listener into deeply embodied experiences," Conrad is the author of six books including The Book of Frank (Chax Press, 2009), The City Real & Imagined (Factory School, 2010), Advanced Elvis Course (Soft Skull Press, 2009), (Soma)tic Midge (Faux Press, 2008), and Deviant Propulsion (Soft Skull Press, 2006). His latest, (Soma)tic Poetry Exercises & Poems, is forthcoming from Wave Books this fall.

McCarthy studied creative writing at Temple University, where she earned her M.A. in 1998. Experimenting with language and narrative, her collections include Table Alphabetical of Hard Words (2010), Verso (2004), and bk of (h)rs (2002), all published by Apogee Press, and she is currently at work on a project involving various Marys of history and fiction (from the Virgin Mary to Marys who figured into the Salem Witch Trials, for instance).

The awards, now in their twentieth year, are given to Philadelphia-area artists and writers at any stage in their careers. While there is an entry process for nominees, those who may apply for the annual fellowships are selected by an anonymous panel familiar with artists working in the region.

In the video below, Conrad reads from his most recent collection, The Book of Frank.

Olga Garcia's Body Poems

Poet Olga Garcia, author of Falling Angels: Cuentos y Poemas and the chapbook Lovely Little Creatures, blogs about her experience facilitating a P&W-supported workshop with young Latina women.

In July of 2008, I was invited by Calaca Press to facilitate a two-day workshop in San Ysidro with eight young Latina women. The goal was to nurture these emerging writers via an intense writing workshop, publication, and public reading. The participants ranged in age from eighteen to thirty-three years old, and came from a variety of communities in Southern California—San Diego, Los Angeles, Ontario, and Montclair.

We gathered at The Front, a San Ysidro art gallery exhibiting political prints. Zapatistas and workers in struggle from around the world peered at us from the gallery walls as we began our journey. Our objective: connect with our bodies and excavate poems buried therein.  On that Saturday and Sunday, for fours hours each day, we explored different concepts of the body. We read Lucille Clifton’s “Hips,” Elba R. Sánchez’s “Me Siento Continente,” Michelle Tea’s rant to America, “The Beautiful. Yusef Komunyakaa sang praises to the flesh in his sensational poem, “Anodyne.” tatiana de la tierra gave us “Visions of Colombia.” And, Sandra C. Muñoz gave us a body manifesto entitled, “For My Sister Who Thinks I'm Unhappy Because I like her Don’t Wear a Size Six.” The words of these writers were our guides, providing constant inspiration and great poetic models.

Aside from reading and writing, we also played. Using collage materials from recycled magazines and newspapers, we created poster-sized body maps. These body maps served as springboards into writing exercises, allowing us to venture into poems about flesh, memory, and body scars. Sara Eslava, one of the participants, for example, wrote a celebratory ode to her curves, while Patricia Beltrán birthed a prose piece about a lover who failed to see the beauty in her cesarean scar.

In the weeks following, I worked with Calaca Press to compile and edit a small chapbook consisting of the women’s strongest work produced during the workshop. The women were encouraged to revise titles, flesh out gaps, and polish images. All of the women proved themselves extremely committed to the process and to improving their craft. Being a part of this unique project and working so closely with these women gave me more than they will ever know. They gifted me with the opportunity to be part of their evolution as writers, which has fueled my creative fire.

Photo: Olga Garcia. Credit: Weenobee.com.

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

Brooklyn Poet D. Nurkse Up for U.K.'s Forward Prize

The shortlist for the twentieth annual Forward Prize for Poetry, the U.K.-based award given for a collection by an established writer, a debut book, and a single poem, were announced this week. Among the finalists for the ten thousand pound best-collection prize (worth more than sixteen thousand dollars) isAmerican poet D. Nurkse, who lives in Brooklyn, New York, for Voices Over Water (CB Editions; first published in 1996 by Four Way Books in New York City).

Criticized by the Guardian for its all-male composition, the shortlist also includes former winners Sean O'Brien for November (Picador) and David Harsent for Night (Faber and Faber), as well as John Burnside for Black Cat Bone (Jonathan Cape), Geoffrey Hill for Clavics (Enitharmon Press), and Michael Longley for A Hundred Doors (Jonathan Cape). While women writers have historically had a strong representation among debut prizewinners, only three women poets, including U.K. poet laureate Carol Ann Duffy, have received the top award.

The debut collections cited for this year's one-thousand-pound honor are Rachael Boast for Sidereal (Picador), Judy Brown for Loudness (Sidereal), Nancy Gaffield for Tokaido Road (CB Editions), Ahren Warner for Confer (Bloodaxe Books), John Whale for Waterloo Teeth (Carcanet Press), and Nerys Williams for Sound Archive (Seren).

Nominated for best poem are R. F. Langley, who died in January, for "To a Nightingale," Alan Jenkins for "Southern Rail (The Four Students)," Sharon Olds for "Song the Breasts Sing to the Late-in-Life Boyfriend," and Jo Shapcott for "I Tell the Bees."

The winners will be announced in October 5, the eve of U.K. National Poetry Day.

In the video below, Nurkse reads an "ecologically correct love poem," "The Present," at popular New York City poetry venue Cornelia Street Cafe.

Margaret Eissler's Poetry in the Park

This August will mark the twelfth year the Readings/Workshops program has supported poets taking part in the Tuolumne Meadows Poetry Festival at Yosemite National Park. The event is cofounded by ranger naturalist Margaret Eissler, who leads the park’s interpretive program and directs the Parsons Memorial Lodge Summer Series, a forum for the arts and sciences. Eissler’s answers to our questions bring to life the profound experiences this festival provides for her as project director, the poets, audience members, and more than a few lucky hikers.

What makes your program unique?
First, to get to Parsons Memorial Lodge, we walk an easy three-quarters of a mile on a trail across the meadow. Parsons Memorial Lodge, an historic gathering place, is a simple, rustic stone building with lodgepole pine beams and casement windows that overlook the Tuolumne River meandering through broad subalpine meadows surrounded by granite domes and peaks—all this with open sky. The lodge breathes this in and out through the windows and arched door. The setting, the intimate space, the audience—a warm and enthusiastic mix of park visitors, park staff, and residents from surrounding communities—make the experience unforgettable for everyone involved.

What have been the most memorable moments?
The consistently rapt and respectful audience. Poet and festival cofounder Patti Trimble wrote, “When I read, in that small room in the middle of Tuolumne Meadows, I felt viscerally that everyone in that room was right there with me. We were all experiencing, at the same moment, our human connection, our shared unexplainable nature within nature.”

Poet Jerry Martien remarking that the experience seemed to him the essence of community in the largest sense of the word: the perfect balance and combination of people with place—the rocks, river, bears, trees….  

Gary Snyder reading his Yosemite trail crew poems within the building made of granite surrounded by the mountains and meadows he loves.

Dorianne Laux reciting, almost singing/dancing, a Li-Young Lee poem by heart during a workshop by the river.

Li-Young Lee, more accustomed to life in the city, saying in wonderment, “Margaret, there is something about this place that is so personal. It is almost haunting. It is sacred.”

David Hinton reading ancient Chinese wilderness poetry.

Brian Turner sharing poems he had written in Iraq—poems that observe the landscape, the war, the people (all people: men, women, children, taxi cab drivers, suicide bombers, soldiers, medics), their culture, history, and relationships—placing the war within a far larger context than we usually hear. He was a messenger from a place most of us know so little about.

The student intern who told me after a presentation by Terry Tempest Williams that he wavers between hope and despair, but the event pushed him towards the side of hope.

The two young women coming off the trail to find themselves unexpectedly at Terry’s event—their eyes bright with excitement.

Cofounder Patti Trimble remembers other moments: “Coleman Barks reading Rumi's poems from seven hundred years ago, and later, saying ‘It's all about love, isn't it?’;  Pattiann Rogers’s long detailed list poems of nature's complexity; David Mas Masumoto’s connecting in a real way the Yosemite watershed with the Great Central Valley; the open mike: Parsons Lodge packed to standing room, fire blazing in the fireplace….”

And I will add, the working together that makes all this happen. That includes Poets & Writers, Inc., to whom I give many thanks for their very existence and long-time support. 

How do you find and invite readers?
I look for diverse voices that complement each other. It’s like planning a menu. I spend blissful hours in bookstores. I subscribe to magazines and investigate ideas. Friends recommend writers or books. I attend readings when I can. YouTube videos or recordings are helpful. When I send an invitation, I feel like I am casting a line. I wait for a response, hoping to get a bite. I love that I can offer an experience that is a gift to the writers and audience alike.

What is the value of literary programs for your community?
The intent of the Parsons Memorial Lodge Summer Series is to inform and inspire, to enrich the visitor’s park experience through a variety of perspectives, and to realize the possibilities inherent when connecting people with a magical place. Poetry fits perfectly within these parameters. I witness people—often people who say they don’t like poetry— discover the beauty and power of poetry for the first time. Ah! What more? Poetry gets to the essence of what it is to be alive, how to be in this world, how to live on this Earth. That’s why I do this.

Photos: (Top) Project director Margaret Eissler; (bottom) interior view of Parsons Memorial Lodge before a reading/presentation by Gary Snyder and Tom Killion. Credit: Arya Degenhardt.

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

Cornell Fellow Wins Caine Prize for African Writing

The Caine Prize for African Writing, a major award given annually for a single short story written in English by an African writer, has been awarded to Zimbabwean author NoViolet Bulawayo, the pseudonym of Cornell University instructor Elizabeth Tshele. Since earning her MFA at Cornell, Tshele has remained with the university teaching composition and creative writing under the Truman Capote Fellowship.

The ten thousand pound prize (approximately sixteen thousand dollars) was awarded for the story "Hitting Budapest," published in the November/December 2010 issue of Boston Review. Tshele received her award at a ceremony in Oxford, England, yesterday.

"The language of ‘Hitting Budapest’ crackles," said chair of judges Hisham Matar. "This is a story with moral power and weight, it has the artistry to refrain from moral commentary. NoViolet Bulawayo is a writer who takes delight in language."

Also shortlisted for the award were Tim Keegan of South Africa for "What Molly Knew," Lauri Kubuitsile of Botswana for "In the spirit of McPhineas Lata," Beatrice Lamwaka of Uganda for "Butterfly dreams," and David Medalie of South Africa for "The Mistress’s Dog." All of the finalists' pieces originally appeared in story collections.

Olga Garcia: How to Eat a Workshop

Poet Olga Garcia, author of Falling Angels: Cuentos y Poemas and the chapbook Lovely Little Creatures, blogs about her experience facilitating the P&W-supported workshop at Robidoux Library in Riverside, California, during May 2011.

Anton Chekhov wrote, “Don’t tell me the moon is shining; show me the glint of light on broken glass.” I often use Esmeralda Santiago’s “How to Eat a Guava” to illustrate Chekhov’s point. In addition, I lay out an altar of fruits, vegetables, and sensory objects—there’s labor in carting around pineapples, baby watermelons, and football-sized conch shells, but for me the altar is ritual, the first thing I put up and the last thing I take down. Nowhere has the altar proven more effective than it did at Robidoux Library in Riverside, California.

Imagine a stampede of thirty teenagers who gravitate towards the altar, handling radishes and jalapeños, asking “Are we gonna eat these?” One spiky-haired kid quickly falls in love with a coconut. “Can I have this? Please!? Please!?”  Others follow his lead. Luckily, I’m not the only adult in the room. Arlene Cano, coordinator of the Jurupa Reads program, two English teachers from nearby schools, and the library’s youth coordinator are also present. Together, we manage to get everyone seated.

We begin with a listening game. I read “How to Eat a Guava” as they jot down phrases from the text that trigger their senses. When I ask for volunteers to share, they respond with a manic show of hands. “Dark green guava,” says one student. “The size of a tennis ball” and “prickly stem end,” adds another. “It smells like summer afternoons and hopscotch under a mango tree.”

Next, they’re invited to visit the altar and choose an object for our first writing exercise. They swarm the table. The spiky-haired kid clutches the coconut. I encourage them to smell and taste some of the items. They cringe and say “Ugh!” at the small bag of salted dried fish. I give them chia to taste. When the tiny, flavorless seeds magically gel on their tongues, they describe the texture as slimy, soft, Jello-y. One student grimaces. “Gross!” She rushes to spit the seeds into the trash.

The writing exercises feel chaotic because they’re fidgeting in their seats, calling out, “Me! Me! Can you help me?” But when they share aloud... poetry comes alive. The coconut transforms into a brown, hairy sun in an alien world. A seashell triggers the memory of a day at the beach with a now-deceased father. A waxy green poblano sizzles on a mother’s stove.

At the end of the workshop, they beg to keep the altar items. “Please! ¡Por favor!” I say yes to the edibles. Coconut kid beams. Others seize the pineapple, bananas, even the dry hibiscus flowers, and the cinnamon sticks. When they finally disperse, I’m spent yet completely satisfied. On the table, they leave behind scattered shells and stones—skeletal remains of an altar well feasted on.

Photo: Olga Garcia. Credit: Weenobee.com.

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

Fifty-Six-Year-Old Debut Novelist Wins Major Australian Prize

The Australian Prime Minister's Literary Awards were announced yesterday, recognizing noteworthy Australian novels and the "efforts and sacrifices" of their writers. Prime Minister Julia Gillard presented the award for fiction to New Zealand native Stephen Daisley, whose debut novel, Traitor, was released last year by Text Publishing, an imprint of Penguin Australia.

Daisley, who now lives in Perth, Australia, received eighty thousand Australian dollars (roughly eighty-six thousand U.S. dollars), an award which the fifty-six-year-old author says will help his family "survive a bit more." The author, who worked without publication for twenty years, told the Sydney Morning Herald that he persevered with his work because writing is his "bliss."

The shortlisted novelists were each awarded five thousand Australian dollars (about five thousand four hundred U.S. dollars). They are Roberta Lowing for Notorious (Allen & Unwin), Roger McDonald for When Colts Ran (Random House), David Musgrave for Glissando: A Melodrama (Sleepers Publishing), and Kim Scott for That Deadman Dance (Macmillan).

Clara Sala Workshops With Veterans

Since 2010, P&W-supported poet and spoken word artist Clara Nura Sala has been conducting poetry workshops with veterans. We asked Clara to describe the experience.

Sponsored by Elders Share the Arts, I'm teaching a poetry workshop for veterans at the Veteran's Hospital on 23rd Street in Manhattan. Participants come from across New York City, from Staten Island to the Upper West Side. The veterans vary in age, but the majority are between the ages of fifty-five and seventy—having served in the Korean, Vietnam, and/or Gulf Wars. The participants seldom bring up their war experiences directly. However, it does come up organically in the context of their poems.

I like to push them to the edge of discovery, emotionally and creatively. These amazingly talented group of men respond with original, moving, and very well-crafted poems. I've introduced stream-of-consciousness and improvisational writing exercises. I've also introduced contemporary poets, such as Billy Collins, Mary Oliver, Joy Harjo, and e.e. cummings. We share our poems aloud, and offer praise and constructive criticism. I say "we" because I consider myself part of the class, not just the facilitator. I write along with the class. I am in the experience with them, and they inspire me to write wonderful and spontaneous poems.

Some participants have expressed that the workshop has become therapeutic. I take this as a high compliment to the workshop's structure, which allows for both maximum creative expression and intimately personal discussions. These men have been greatly affected by their experience with war (most of them suffer from post-traumatic stress disorder and a couple have schizophrenia). The group is so loving, caring, and kind and extremely supportive of each other. I am honored to know them, to share their lives, their art, and their vulnerability.

Photo: Clara Nura Sala and workshop participants.  Photo Credit: Gregory Hicks.

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 Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

Russian Author Yet to Be Translated in U.S. Wins International Literature Prize

The German Haus der Kulturen der Welt has awarded its twenty-five-thousand-euro (roughly thirty-five-thousand-dollar) International Literature Award to Russian writer Mikhail Schischkin for his novel Venushaar (Maiden's Hair). The novel, which has won several awards in Russia but took seven years to make its way into translation in Germany—and remains untranslated in the United States—was selected for the prize from among over one hundred books translated from twenty-four languages and originating in fifty countries.

Among the finalists for the prize, which honors translations of books from any language into German, were Haitian American author Edwidge Danticat for the translation of her memoir Brother, I'm Dying, which was published by Knopf in the United States in 2007; Elias Khoury for Yalo, originally written in Arabic and released in English by Archipelago Books in 2008; and Mathias Énard for Zone, translated from the French and published last December in English by Open Letter. A list of all the finalists and their German publishers is available on the prize website.

The jury, comprised of editors, translators, critics, and authors, called Schischkin a "wordsmith of the highest order" who has "developed a unique form of novel" and "plays with
perspectives and settings, with the most diverse verbal registers and stylistic positions." His translator, Andreas Tretner of Berlin, who has been translating works from the Russian, Czech, and Bulgarian since the mid-eighties, was also praised for "finding a German lid for every Russian pot."

Olga Garcia's Border Towns

For the month of July, poet Olga Garcia, author of Falling Angels: Cuentos y Poemas, blogs about her experience facilitating poetry workshops as a longtime P&W-supported writer.

It's May 2009 and the scorching sun casts long shadows on the streets of downtown Calexico. I’ve driven 230 miles southeast of Los Angeles, past the Salton Sea, to arrive in this furnace of a city that boasts three-digit temperatures. I’m here to facilitate an R/W-sponsored bilingual poetry workshop at Camarena Library, and I’ve arrived early enough to explore.

When it comes to border towns, Calexico has it all: the U.S.-Mexico border you can walk up to, sniff, stare at, curse, or cross; señores in sombreros and thick leather belts; big women in church dresses, waving religious pamphlets in the air; a corner stop featuring menudo, donuts, and border patrol agents. Sure, there’s a Starbucks, a few Walmarts, but what tugs at me is the historic shopping district, the brick archways and columns, the cement bus benches, and the discount stores.

Hours later, I arrive at Camarena Library, sweaty and a bit anxious. I’ve been teaching for twelve years, yet I feel like a novice. The unknowns of a workshop always stir me. Who will come? Adults? Teens? What language(s) will they speak? I’ve brought three different handouts with me—English, Spanish, and bilingual. I don’t know which one I’ll be using.

Ten minutes until workshop and no one has arrived. Brief panic.  Did I ditch work to go sightseeing? I flashback to Calexico’s rustic downtown, recalling its charm, the chilidogs I ate at a tiny stand and decide that even if nobody shows, the trip was worth it.

They arrive. First a woman and two men. Then a mother with her teenaged son. Within minutes I have a small group curiously looking at the altar displayed on a table. I invite them to pick up the objects—seashells, ripe fruits, pictures of birds in flight, bright-colored plastic flowers purchased at one of Calexico’s fabulous discount stores.

In our introductions I learn that almost everyone is bilingual. Now I know what materials to use, what exercises to dive into. A workshop, though, is much more than a pre-planned lesson. It’s a breathing thing with a collective pulse. Each class generates its own unique energy. In Calexico, the group is intimate and quiet.

I feel the need to chat before we begin. When I tell them I live in Los Angeles, they’re surprised at how far I’ve traveled for this two-hour workshop. “I’ve wanted to visit Calexico for years,” I tell them. They look at me like I’m crazy. I confess that having grown up between two languages and cultures, I have a thing for border towns. I relay my day’s adventures in downtown, how I snapped hundreds of photos and interviewed residents on the streets as if I were a journalist. They laugh, opening up, sharing a few of their own stories and insights about their hometown. We delve into our poetry workshop like this, crossing borders...connecting.

Photos: (Top) Olga Garcia. Credit: Weenobee.com; (bottom) workshop participants. Credit: Olga Garcia.

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

 


InsideOut Teens Tell Stories From the Edge

On May 5 Detroit’s InsideOut Literary Arts Project held its first annual youth writing conference, featuring P&W-supported writers Eddie B. Allen, Matt Bell, Nandi Comer, jessica Care moore, Norene Cashen Smith, and Marcus Wicker. We asked project director Alise Alousi to describe the event.

Who Understands Me But Me: A Youth Voices Conference (titled after a poem by Jimmy Santiago Baca) was the culminating event for a year of programming focused on Baca’s essay collection, Stories from the Edge. InsideOut students used the essays in the collection as a model for developing their own personal narratives.

The goal was to give 150 Detroit public high school students an opportunity to attend a daylong event similar in content and format to that of an adult writing conference. Baca led a writing workshop and presented keynote remarks for the conference, which was supported by Poets & Writers and the JP Morgan Chase Foundation. Workshops were also led by a talented group of local writers including: Matt Bell, Nandi Comer, Peter Markus, jessica Care moore, Matthew Olzmann, Marcus Wicker, and InsideOut founder Dr. Terry Blackhawk. Students preregistered for the conference, choosing their top six workshops from a list of twelve. Titles of workshops included: Trigger, Memory, Return: Juggling the Poetic Flashback; Hustle with a Ghazal: Innovation Through an Ancient Form; Urban Fiction and Realities, and The Event as Inspiration for Flash Fiction. 

Writers incorporated a variety of prompts and techniques into each workshop session. In Marcus Wicker’s session, students read and discussed the poem “Woman Walking on the Road” by Terrance Hayes. Next, Wicker led students through a freewriting exercise by asking a series of compelling open-ended questions about a memory. This is what student Lorenzo Bragg came up with when he was asked to “think about a time when your actions had an adverse effect on another living thing.”

He pushed and shoved when I only stood
but when he threw that punch I threw my love.
Resentment, fire, anger, and fear
with my punch to his jaw the world became clear.
The intense spark of my fist on his face,
and the lovely jolt of his neck, its grace.

Lorenzo was the first student to arrive at the conference, taking several buses to get to the campus of Wayne State University. We had a chance to discuss how his exposure to writer John Rybicki, who meets with his class weekly at Douglass Academy for Young Men through InsideOut’s writing residency program had inspired him to come to the conference. He told me, “Mr. Rybicki has helped me to express my emotions through writing. He has a passion for living life that has helped me get excited about my own life.”

Central to InsideOut’s mission is a belief in the power of self-expression and language as a means to transform lives and build community. One of the most exciting moments of the event took place during lunch when students, many of whom had never read before an audience this large, shared what they had written in their morning workshops. Students supported each other by snapping their fingers and applauding. This was followed by Baca’s remarks, which took students through his own self-discovery and belief that all individuals should set everyday goals as a way to embrace their potential.

Photo: Marcus Wicker. Credit: Jacob Shores-Arguello.

Support for Readings/Workshops events in Detroit 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.

A Challenge of Six for Your Fourth

This summer SMITH Magazine is bringing writers another of its famed challenges in literary brevity. Amidst this weekend's celebrations of liberty from it, perhaps now's the perfect time to reflect on the contest theme—work—using six words exactly.

From now until Labor Day, a new sub-theme will be introduced every two weeks, and writers are invited to enter their six-word memoir on that particular aspect of work on the SMITH website. This week's competition, judged by The Happiness Project author Gretchen Rubin, asks, "Why do you do what you do?" (Some recent entries: "Who doesn't love the payroll lady?" and "I can work in my slippers.")

There is no fee to enter, and the magazine is partnering with Mercer, a human resources firm, to offer the winner of each two-week-long challenge an iPad2 or Blackberry Playbook. All entries will also be considered for a Six Words About Work book. For more information, to read entries, and to submit your own, visit the contest web page.

U.K.'s Second Oldest Literary Prize Is Suspended

A nearly seventy-year-old literary award that honored works in all genres by young, emerging writers is buckling under the pressure of budget woes. Booktrust, the organization that has for the past nine years sponsored the John Llewellyn Rhys Prize, given since 1942 to writers under the age of thirty-five, announced earlier this week that government funding cuts forced it to revamp its program portfolio, shuttering the awardat least for 2011.

The prize, according to author Margaret Drabble, who won the award in 1966 and lamented its loss in the Guardian, is "one of the most romantic and distinguished of prizes," more so than the oldest major U.K. award, the James Tait Black Memorial Prize, or the Booker. The five-thousand-pound award (roughly eight thousand dollars) is given to writers "at the outset of their careers, when a sign of approval means much more than it does in their cynical, competitive, commercial later years."

The 2009 winner, Evie Wyldwho won for her novel, After the Fire, a Still Small Voice (Pantheon)says the award "gave me a platform to work off, and I'm not sure I'd be in the position I am in now, had the Rhys not brought such a large amount of attention with it," including radio appearances and articles. Among the other poets and prose writers who have taken the prize in the past are Angela Carter, Andrew Motion, V. S. Naipaul, and Jeanette Winterson.

Booktrust, which is pursuing alternate avenues for maintaining the prize, told the Guardian it hopes to bring the Rhys "back with a bang as soon as possible," possibly even in 2012.

In the video below, Wyld reads from her winning book, a "romantic thriller about men who aren't talking."

Kore Press Suspends Poetry Book Contest

Kore Press, whose mission is to publish diverse works by women writers, has temporarily suspended its eight-years-running poetry book competition for 2011. The nonprofit publisher will resume the contest in 2012, following a period of restructuring that, according to the press's business and marketing manager, necessitates a hiatus.

The short fiction contest will go on as planned this year, and the winner of last year's poetry book contest will see her debut published, as well. Michelle Chan Brown's Double Agent will be released in the fall.

In the video below, Brown reads from her chapbook, Clever Little Decoys, published by Love Among the Ruins last year.

Kelly Norman Ellis on Chicago's South Side

Poet Kelly Norman Ellis, author of Tougaloo Blues and longtime P&W-supported writer and presenter of literary events, dotes on Chicago's South Side and the Neighborhood Writing Alliance.

I’ve lived and worked on Chicago’s South Side for almost thirteen years. As an educator and writer, I am attracted to organizations that express a commitment to writing and art outside the academic community. Our writing program at Chicago State seeks to coalition build with community organizations so that our students realize the benefits and necessity of teaching outside of the academy.

The Neighborhood Writing Alliance (NWA) located on the South Side of Chicago fills this need. NWA runs writing workshops for adults in low-income neighborhoods throughout Chicago, and publishes selected pieces from those workshops in its quarterly award-winning publication, Journal of Ordinary Thought (JOT). Founded in 1996 by Hal Adams, Deborah Epstein, and Sunny Fischer, NWA grew out of JOT, which was founded by Hal Adams in 1991.

Hundreds of Chicago adults have participated in NWA writing groups in a range of settings—from public libraries and public schools (where parents participate) to social service agencies and public housing projects. Workshops are conducted across ethnic lines. In one workshop, I taught African Americans born in Chicago, Mississippi, and Jamaica; Polish immigrants; fourth generation Irish Americans and second generation Mexican Americans. Participants in these workshops write primarily from their own experience, but through writing and discussion make connections between their personal experiences and broader social issues.

Workshop leaders are Chicago-based professional writers and arts educators such as Krista Franklin, Toni Asante Lightfoot, Parneshia Jones, Tony Lindsay, Carlos Flores, and Valerie Wallace, to name a few. NWA also has an impressive Writer’s Advisory Council, which includes Achy Obejas, Alex Kotlowitz, television journalist Bill Kurtis. The legendary Studs Turkel also served on the council before his death.

Our MFA program at Chicago State believes in the connection of writing and social justice. NWA demonstrates this principal at work by providing internships to our writing students on the graduate and undergraduate level, allowing them to experience the successful marriage of art and activism.

Photo: Kelly Norman Ellis. Credit: Natasha Marin.

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