In her book An Absorbing Errand: How Artists and Craftsmen Make Their Way to Mastery, Janna Malamud Smith writes about a photography exhibit she saw in the late 1970s that consisted of Abe Frajndlich's pictures of photographer Minor White, who died in 1976. "In the photographs, Frajndlich shows White dressed up in different costumes representing other lives he might have lived," she writes. "What, the exhibition asked on White's behalf, would it have been like to have had more than one turn? Who else might I have become? What other work could I have done?" Choose a minor character from one of your stories (one that is giving you trouble, perhaps) and give him or her the Abe Frajndlich treatment: Write a series of paragraphs in which you imagine different lives for that character.

The North Adams, Massachusetts–based Tupelo Press has announced the launch of a new online literary magazine, Tupelo Quarterly, and with it an inaugural poetry contest. The winner will receive one thousand dollars and publication in the first issue of Tupelo Quarterly. 

The prize is currently open for submissions. Using the online submission manager, poets residing in the United States and abroad may submit up to five previously unpublished poems in English with a twenty-dollar entry fee by August 15. Simultaneous submissions are welcome; translations are not eligible. 

Ilya Kaminsky will judge. The winner and three runners-up will be announced with the release of the first issue on October 15.  

Founded in 2001, Tupelo Press is an independent, non-profit literary press “devoted to discovering and publishing works of poetry and literary fiction by emerging and established writers.” In this new digital expansion, Tupelo Quarterly follows that mission and extends beyond it, publishing both unsolicited work by new writers and solicited work by established writers and visual artists. “In addition to a stunning poem or story on the page, we want to include work that takes full advantage of the medium,” the editors write in their mission statement. “We want to honor the art as received, and to extend the scope of what a literary journal can do. Tupelo Quarterly cultivates generous artistic community, celebrates intellectual and creative curiosity, and presumes abundance. We hold the gate open, not closed.”

The editors of Tupelo Quarterly, with poet and prose writer Jessamyn Johnston Smyth at the helm, will begin reading general submissions for Issue Two, due out in January 2014, in October. Detailed guidelines for open submissions will be announced on the website.

In their introduction to My Vocabulary Did This to Me: The Collected Poetry of Jack Spicer (Wesleyan University Press, 2008), Kevin Killian and Peter Gizzi write about Spicer's idea of the serial poem, "a book-length progression of short poems that function together as a single movement." Robin Blaser described the form as "a dark house, where you throw a light on in a room, then turn it off, and enter the next room, where you turn on a light, and so on." As Spicer's poetry "moves from dark room to dark room," Killian and Gizzi write, "each flash of illumination leaves an afterimage on the imagination, and the lines of the poem become artifacts of an ongoing engagement with larger forces." Read some of Jack Spicer's long poems, including The Holy Grail and Billy the Kid. Consider throwing a light on some rooms of your own.

Poet and artist Amanda Deutch blogs about her P&W–supported poetry and arts festival, Parachute: the Coney Island Performance Festival. She is the author of four chapbooks: Gena Rowlands, Box of Sky: Skeleton Poems, Motel Drift, and The Subway Series. She is also the recipient of a 2007 Footpaths to Creativity Fellowship to write in the Azores Archipelago.

“Long ago when I was a young man, Coney Island was a favorite spot. At that time, Coney Island had not the reputation it has now.”—Walt Whitman

I had an idea to have a free community-based poetry and arts festival in Coney Island, a neighborhood on the edge of a city. The festival would incorporate site-specific poetry, free workshops, and readings in a spectacular location. I wanted to create a space where people who had written about Coney Island could come and read and share their words about the place. Coney Island is a neighborhood with a vivid art and literary history, and for me it holds significant family history. My mother’s family lived in Coney Island, on 29th between Mermaid and Surf, for almost twenty years, from the 1920s to the 1950s. Ever since hearing my grandmother Betty first say the words, “Half Moon Hotel,” "Abe Reles," and "meshugana," Coney Island held a poetic resonance for me. I wanted to spend as much time as possible in the place where this Half Moon Hotel once towered with views of the Atlantic and a 150-foot ferris wheel could be landmarked.

Years ago, when I told a good friend my idea to have a festival, he said, “Go for it.” That’s how a lot of things get started in my life, simply with an inspiration and a good friend saying, “Go for it.” I suppose I am lucky to have such good friends and perhaps a little bit of raw nerve. My idea has grown into a nonprofit, Parachute: the Coney Island Performance Festival. I have been able to invite some of the most innovative, incredible, and groundbreaking New York City poets and writers to come and read in Coney Island’s New York Aquarium in front of sea nettle jellyfish—not your typical space for a poetry reading—for an audience that is not your typical poetry audience. Our festival’s audience consists of “regular folks.” We invite mostly native New Yorker writers who are pushing boundaries in the field of poetry. I have had the opportunity, through Poets & Writers’ Readings/Workshops Program, to offer writers a small fee to read and to give a writing workshop during the festival. Brooklyn-based poet Patricia Spears Jones read at the debut festival and lead a free writing workshop for adults at the Mermaid Avenue Library. She enjoyed the experience so much that she came back again and would like to continue leading workshops for us. This symbiotic relationship between artists and the community is just what I was after. Award-winning poet Cara Benson recently said, “How could I ever forget reading there?” I have often thought, "Why can’t poetry readings be in incredible aesthetic environments? Why not have site- specific poetry?" So here you have site-specific poetry!

Many writers reading for the festival have already written prose or poetry about Coney Island. If they haven’t, I encourage writers to create a new Coney Island work especially for Parachute: the Coney Island Performance Festival. Edwin Torres (mentioned in a previous post) came and surprised everyone by reading a rare autobiographical poem, “Coney Island 1969,” that was more narrative than most of his experimental poetry. The poem spoke of his father coming from the Bronx to work as a manager at Nathan’s in Coney Island when he was a little boy growing up in New York City!

This past year we incorporated an audio installation of a poem by the world renowned Bronx born, architect, artist and poet Vito Acconci into the festival. With the help of the Aquarium staff, I placed it outdoors for two evenings in the New York Aquarium’s plaza, beside the penguins. One of the truly spectacular spatial relationships is that Vito’s firm Acconci Studios designed the sculptural art, “Wave-A-Wall,” on the West 8th subway station right across the street! So you could hear his poem “Antarctica” in a small nook beside the penguins while watching the sky change colors right across the street from one of his art commissions.

We also had the ticket-takers who work in the Eldorado Bumper Cars ticket booth on Surf Avenue Trudy and Louis read Coney Island poetry on the mic. Just yesterday Louis stopped me on the street and said, "Hey, when are we doing that again? I got some poetry I want to read and found some poets who would like to get on the mic, too."

Parachute: the Coney Island Performance Festival brings site-specific poetry, installations, symbiosis, and local New York City writers waxing poetic about Nathan’s—all for less than the price of a hot dog. It's free!

Photo: Cara Benson, Amanda Deutch, and Edwin Torres.

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 Cowles Charitable Trust, the Abbey K. Starr Charitable Trust, and the Friends of Poets & Writers.