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“A blue against the easy clarities of sky, / a blue that eats the light, a bruise // ascended from forgetfulness.” In this Ours Poetica video, Eduardo C. Corral reads “Kinds of Blue #76 (Evening Snow)” by Don McKay from his collection Camber (McClelland and Stewart, 2004).
Bring in mid-August by submitting to contests with deadlines of August 15 or August 20. These poetry and fiction awards all offer cash prizes of $1,000—or $500 with the opportunity to receive two cases of craft beer!
Dogfish Head Craft Brewed Ales Poetry Prize: A prize of $500, publication by Broadkill River Press, 10 author copies, and two cases of Dogfish Head craft beer are given annually for a poetry collection written by a poet living in Delaware, Maryland, New Jersey, New York, North Carolina, Pennsylvania, Virginia, Washington, D.C., or West Virginia. The winner is expected to attend a reading and award ceremony at the Dogfish Inn in Lewes, Delaware, on December 12. Lodging is provided, but travel expenses are not included. Edgar Kunz will judge. Deadline: August 15. Entry fee: none.
Grayson Books Poetry Prize: A prize of $1,000 and publication by Grayson Books is given annually for a poetry collection. Brian Clements will judge. Deadline: August 15. Entry fee: $25.
Kallisto Gaia Press Poetry and Short Fiction Prizes: Two prizes of $1,000 each and publication in the Ocotillo Review are given annually for a poem and a short story. Chip Dameron will judge the Julia Darling Memorial Poetry Prize; Charlotte Gullick will judge the Chester B. Himes Memorial Short Fiction Prize. Deadline: August 20. Entry fee: $20 (includes a copy of Ocotillo Review).
Red Wheelbarrow Poetry Prize: A prize of $1,000 and publication in Red Wheelbarrow is given annually for a single poem. The winner will also receive 20 copies of a letterpress broadside of the winning poem. Dorianne Laux and Joseph Millar will judge. Deadline: August 15. Entry fee: $15.
The Word Works Tenth Gate Prize: A prize of $1,000, publication by the Word Works, and 50 author copies is given annually for a poetry collection by a poet who has published at least two full-length books of poetry. Lee Ann Roripaugh will judge. Deadline: August 15. Entry fee: $25.
Visit the contest websites for complete guidelines, and check out the Grants & Awards database and Submission Calendar for more contests in poetry, fiction, and creative nonfiction.
“Sometimes I too want to be a poem. / I don’t want to be this pain, / but the language used / to unearth it.” In this Button Poetry video, Michael Lee reads “Just Yesterday” from his debut poetry collection, The Only Worlds We Know (Button Poetry, 2019).
Are trees immortal? Earlier this year, research published in the journal Proceedings of the National Academy of Sciences reported on findings that the biological behavior of gingko trees over six hundred years old was similar to those that were only around twenty years old, prompting the idea that perhaps these trees were immortal. Last month, a new paper published in response in Trends in Plant Science argues that while some trees may indeed live for hundreds or even thousands of years, eventually they are likely to die, and our studies are simply limited by the (relatively) short lifespans of the human beings conducting the studies. Write a pair of poems, one exploring immortality and one exploring mortality. Where do you find yourself turning for allusions or references—nature, civilization, interpersonal relationships?
“I write sporadically and edit often.” —francine j. harris, author of Here Is the Sweet Hand
“We’d cut school like knives through butter, the three / Of us — Peter, Stephen and I — to play / Just about all the music we knew…” In this video, award–winning poet Rowan Ricardo Phillips reads “Boys” from his second collection of poems, Heaven (Farrar, Straus and Giroux, 2015), which was shortlisted for the Griffin Poetry Prize in 2016.
The author of Horsepower recalls the tricks that helped her revise and assemble her collection.
“Life is short, and I’ve shortened mine / in a thousand delicious, ill-advised ways...” This Motionpoems short film by Anais LaRocca features Maggie Smith’s title poem from her third collection, Good Bones (Tupelo Press, 2017).
Hey mi gente, I want to jump right in and continue with the interviews I’ve been able to hold with local Houston writers about life during the pandemic. For this series, I reached out to writers and posed one simple question:
What have you been doing since the pandemic started?
This series began with insights from Katie Hoerth and Daniel Peña, and this week, I bring you poet Melissa Studdard. Studdard is the author of five books and the recipient of the 2019 Penn Review Poetry Prize and the 2019 Tom Howard/Margaret Reid Poetry Contest sponsored by Winning Writers. Her works include the poetry collection, I Ate the Cosmos for Breakfast (Saint Julian Press, 2014), and the poetry chapbook, Like a Bird With a Thousand Wings (Saint Julian Press, 2020). Her writing has been published in the New York Times, POETRY, Kenyon Review, and the Guardian.
Here is what Melissa had to say:
“Like so many others, I’ve spent a lot of time trying to get my head around what’s happening. Kelli Russell Agodon and I have been coauthoring poems five days a week that grapple with this new life we’re living and how suddenly it was thrust upon us. As well, I pen a daily poem for the Grind. Outside of writing, I’ve been cooking, gardening, spending a lot of time with my kid, and reading. In some ways, it feels like everything has changed, and in others, it feels like nothing has changed. I still do a lot of the same things, but differently. Whereas before I was a little more solitary and introspective, now I seek connection in everything. When I read, I read to understand, as deeply as possible, other humans. When I garden, I want to know the tomato, feel the basil, be the soil. The pandemic has forced me to slow down and see things I looked past before. Everything feels so fragile now; I want to take great care with it all. I don’t want to take anything for granted.
I have also been collaborating with a composer friend, Christopher Theofanidis, with whom I recently released a chapbook of my poems and fragments of his musical scores called Like a Bird With a Thousand Wings. The musical scores are from his composition “The Conference of the Birds,” which is based on Attar’s allegorical poem by the same title. All the release performances and activities were cancelled, so we’ve been doing limited virtual events instead, and we’ve begun work on an oratorio based on Hesse’s Siddhartha. In addition to my own writing, I’ve been trying to support other writers. Among other small gestures, I’ve held some monthly drawings on Twitter to give writers money for contest entry fees. I had the good luck of winning several contests recently, and I was thinking about how there are a lot of writers who should be placing in and winning contests but can’t afford to participate. I wanted to spend some of my winnings to help them enter contests because I think it’s important right now to find ways to make and give joy, and to create things for ourselves and others to look forward to.”
Photo: Melissa Studdard. Lupe Mendez is the literary outreach coordinator for Poets & Writers in Houston. Contact him at Houston@pw.org or on Twitter, @houstonpworg.In “Translating Poetry, Translating Blackness,” published in the Poetry Foundation’s Harriet blog, poet and novelist John Keene reflects on language as “a medium, a field, a tool, a site of being and expression and communication.” Through his translation work, Keene engages with writing that is often overlooked, such as poetry “by women writers, by LGBTQ writers, and by writers of African descent,” in order to publish the work for more readers. Choose a poet whose work you admire and translate one of their poems into another language or form. Perhaps you attempt a translation from one language to another or try “translating” a sonnet into a pantoum. What would you like to express through this exchange of language?
