Write a list titled "The Ten Things I Will Not Think About in My Last Seconds of Life." Give yourself ten minutes to freewrite the list, then turn the list into an essay. It can be funny, serious, or strange; the points may be connected or not. The important part is to allow yourself to linger on each item in your list and let it grow into its full potential, perhaps keeping it mind for an essay of its own. For this assignment, make sure to incorporate all ten things from the list into your essay.
Read the newspaper today and note the articles that you're most interested in reading. From those, choose a theme or concept that characterizes one or some of them, such as corruption, crime, war, love, or politics. Freewrite about the theme you've chosen, focusing on the articles you've read, your personal experience, and other anecdotes. Then craft an essay titled "Five Things I Know About [Your Chosen Theme]," in which you further explore what you've discovered by reading, thinking, and freewriting.
Devoya Mayo is a poet, playwright, former radio personality, DJ, tastemaker, and events coordinator with P&W-sponsored The Soulflower Group. Based in Fresno, she dedicates her time to curating events that bridge the divide between the diverse communities residing within California’s Central Valley. From 2005–2006, Mayo was P&W’s Central Valley outreach consultant. Under the moniker Ms. Soulflower, you can find her spinning music in dimly lit establishments, organizing and hosting gatherings, and creating art via Etsy.
What makes the Soulflower Group unique?
We are a consortium of designers, DJs, musicians, photographers, poets, and organizers connected by the tenet that creativity and culture are essential in building community wellness.
What recent project have you been especially proud of?
The P&W-supported Soulflower Speakeasy featuring Sunni Patterson, along with Stephen Mayu, Connie Owens, and Joy Graves, was the easy standout of the year. Sharing space with someone who had appeared on HBO’s Def Poetry Jam, performed at major spoken-word venues, and worked with several well-known artists and performers—including Sonia Sanchez, Wanda Coleman, and Amiri Baraka—was spiritually motivating and an honest-to-goodness awakening. From the moment Sunni walked on stage with her son, she offered us a glimpse into her soul through poetry, reflecting the strife, angst, joy, and hope that many of us were feeling.
How do you find and invite readers?
I find writers via word-of-mouth, social networks, and the occasional open-mic night. You can’t walk down the street in a place like Fresno and not run into a writer of some kind. California’s Central Valley has always been home to a host of heavy hitters like Connie Hales, Tim Z. Hernandez, Juan Felipe Herrera, Lee Herrick, Philip Levine, and Gary Soto.
What’s the craziest thing that’s happened at an event you’ve hosted?
One night a crowd favorite walked on stage, placed a gym bag on a stool, and began to read from his chapbook. As he read about the abuse inflicted by various objects, he began to reach into his bag and toss out the offending objects. He threw boots, belts and, yes, even an iron into a crowd of poetry lovers. Needless to say, there were lots of near misses and, afterwards, we enacted a no-Gallagher-type-antics disclaimer for future events.
How has literary presenting informed your own writing and/or life?
When I’m part of an event, or in the process of curating one, my literary antennae are on high alert. I push myself harder and listen more than I speak, which is hard... let me tell ya. The elements that speak to me, or don't speak to me, inform what I want to provide.
What do you consider to be the value of literary programs for your community?
Very few have the power, resources, or authority to demand more programming. This is how we knew we had to do more than just daydream about what it would be like if we were really to invest in our artistic futures.
Photo: Devoya Mayo. Credit: Joe Osejo Photography.
Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.
Research one of the decades during which you were a child. Make a list of the popular music at the time, the best-selling books, the favorite movies and celebrities. Then write notes about politics—who was president? what were the major political issues in the United States and globally? Then freewrite about the neighborhood where you lived—who were your neighbors? what was the living situation like? what was a typical day for you and the people around you. Finally, choose an event from your life or from history that happened during the time you've researched and write about it, using your research to inform and contextualize what you write.
The Pushcart Prizes, given annually since 1976 for poems, stories, and essays published by literary magazines and indie outfits, purport to highlight the "best of the small presses" in a yearly anthology. Looking to apply some objective analysis to the results (and determine, by Pushcart standards, where his own fiction might be in the most distinguished company), one writer has taken to tracking winning venues over the years.
Since 2008 Clifford Garstang, author of the story collection In an Uncharted Country (Press 53, 2009) and editor of Prime Number Magazine, has looked back at the past ten years of Pushcart anthologies and calculated the most-honored magazines, using a system that awards points for Pushcart wins and honorable mentions. The results for 2012, broken out by genre, were reported last week his Perpetual Folly blog.
This year's tally saw Georgia Review, Ploughshares, and Southern Review taking top slots across all three genres, with Conjunctions ranking in the top five in both fiction and nonfiction. Poetry was the front-runner in its genre of specialization. Big movers in fiction, in relation to Garstang's 2011 rankings, were A Public Space and One Story. In nonfiction, Harvard Review and n+1 made jumps this year, tied for thirty-second place. (Small presses make a lesser showing, though BOA Editions holds the fifteenth spot in poetry.)
Garstang admits that ten-year retrospective he takes naturally favors older journals, as well as magazines that appear in print (only one online journal was highlighted in the 2012 award anthology). "Pushcart has for several years been criticized for discriminating against online magazines," Garstang writes on his blog. "Online magazines have made some inroads in the annual volume. I expect this will accelerate and the problem will correct itself. We shall see. In the meantime, for those of us who submit work to online journals—some of which are excellent—we have to look elsewhere for measures of quality."
For more information about the 2012 Pushcart Prize anthology, visit the prize website.
Using Lorrie Moore's "How To Be An Other Woman" from Self-Help (Knopf, 1985) as inspiration, turn a personal experience into a twelve- (or more) step, how-to manual. The piece can be a simple enumerated list, or it can be more detailed, conveying a broader story; but use the second-person, and keep it instructional.
Starting yesterday, forty-year-old literary journal Ploughshares began accepting entries for a new writing contest open to unpublished poets, fiction writers, and creative nonfiction writers. The Emerging Writer's Contest, an expansion of last year's inaugural competition in fiction, will award one thousand dollars and publication to a writer in each genre.
In order to be considered "emerging," writers should not have published a book or chapbook in any form (self-published works included). Ploughshares invites potential entrants with eligibility questions to inquire via e-mail.
Poets may submit between three and five poems and prose writers may submit works of up to five thousand words along with a twenty-dollar entry fee, which includes a subscription to Ploughshares, until April 2. For complete guidelines and to access the submission manager, visit the journal's website.
The winner of the first contest was thirty-six-year-old Thomas Lee, for his story "The Gospel of Blackbird," which appears in the current issue of the magazine, alongside fiction by James Franco, William Giraldi, Ann Hood, and Rachel Kadish. Sample works from the issue, guest edited by Alice Hoffman, are accessible online.
Write for twenty minutes, without stopping, a piece of pure description about something you see (a person, a scene, or an object in the room). No dialogue, no metaphor, no emotion; just pure description, as detailed as possible. Then write, nonstop, for another twenty minutes about the same subject, but this time use only speculation—imagine the subject's thoughts, perceptions, emotions, inner, or outward dialogue, etc.—and/or your own thoughts and observations about the subject. Combine the two pieces, and see what kind of story comes to life.
The closing date is less than a week away for New York City-based PEN American Center's literary competitions for poets, fiction writers, creative nonfiction writers, and translators.
The five-thousand-dollar Open Book Award is given for a book of poetry, fiction, or creative nonfiction by an author of color. Award alumni include poets Harryette Mullen and Willie Perdomo, fiction writer Victor LaValle, and creative nonfiction writer Joy Harjo.
In fiction, the PEN/Robert Bingham Prize offers twenty-five thousand dollars for a first novel or story collection published in 2011. Danielle Evans, Jonathan Safran Foer, and Monique Truong are among past winners.
Essayists may enter the PEN/Diamonstein-Spielvogel Award for the Art of the Essay, which awards five thousand dollars for a collection published in 2011. Last year's winner was Mark Slouka for Essays from the Nick of Time: Reflections and Refutations (Graywolf Press, 2010).
In translation, several awards are offered, including grants of between two and ten thousand dollars each for unpublished translations. One three-thousand dollar prize competition is open specifically to published translations of poetry, another to works in any genre.
PEN also gives prizes in biography, children's and young adult literature, sports writing, science writing, and drama. For more information and guidelines, visit the organization's website.
Over the weekend the National Book Critics Circle revealed the contenders for its 2012 book awards, the only literary awards judged solely by book critics.
The finalists in poetry are:
Forrest Gander for Core Samples from the World (New Directions)
Aracelis Girmay for Kingdom Animalia (BOA Editions)
Laura Kasischke for Space, in Chains (Copper Canyon Press)
Yusef Komunyakaa for The Chameleon Couch (Farrar, Straus, and Giroux)
Bruce Smith for Devotions (University of Chicago Press), which was a finalist for last year's National Book Award
In fiction, the finalists are:
Teju Cole for his novel, Open City (Random House)
Jeffrey Eugenides for his novel The Marriage Plot (Farrar, Straus and Giroux)
Alan Hollinghurst for his novel The Stranger’s Child (Knopf)
Edith Pearlman for her story collection Binocular Vision (Lookout Books), a finalist for the National Book Award
Dana Spiotta for her novel Stone Arabia (Scribner)
In memoir, the finalists are:
Diane Ackerman for One Hundred Names for Love: A Stroke, A Marriage, and the Language of Healing (Norton)
Mira Bartók for The Memory Palace (Free Press)
Sharifa Rhodes-Pitts for Harlem Is Nowhere: A Journey to the Mecca of Black America (Little, Brown)
Luis J. Rodríguez for It Calls You Back: An Odyssey Through Love, Addiction, Revolutions, and Healing (Touchstone)
Deb Olin Unferth for Revolution: The Year I Fell in Love and Went to Join the War (Henry Holt)
Among the finalists in nonfiction are John Jeremiah Sullivan, the Paris Review's southern editor and a contributing editor of Harper's, nominated for his essay collection, Pulphead (Farrar, Straus and Giroux). In the criticism category, novelist Jonathan Lethem got a nod for The Ecstasy of Influence (Doubleday).
The winners will be announced on March 8 at a ceremony at the New School University in New York City.