The Harriet Beecher Stowe Center in Hartford, Connecticut, is looking for works of poetry and prose from collegiate writers whose literary work advances social justice, in the spirit of Stowe's activism through storytelling.

Accepting all types of previously-published writing, from poems to stories to blog posts, the inaugural Student Stowe Prize competition will award twenty-five hundred dollars to a current college or university student.

The winning work will also be republished on the Stowe Center website, and the writer will be recognized at a ceremony on June 7, 2012, alongside a secondary school student whose writing also strives to make "a tangible impact on a social justice issue critical to contemporary society." Eligible works may touch on questions of, for instance, race, class, or gender equality, and must have appeared in a notable periodical or blog.

Student writers may submit entries, which should be accompanied by three references, until February 27. For complete guidelines, visit the Stowe Center website.

A form that requires remarkable economy of narrative is tightening its belt even further in Electric Literature's holiday short short story contest.

The literary magazine is asking writers to "show a little restraint," telling a story in thirty to three hundred words and using each of those words only once.

There is no fee to enter the competition, and, while there's no cash prize, either, the three top stories will be published on the Outlet, Electric Literature's blog. The top winner will also receive a print edition of Electric Literature Volume 1 (six issues) and the book Dirty! Dirty! Dirty! (Soft Skull Press, 2011) by contest judge Mike Edison, arguably an expert on the opposite of restraint.

The first runner-up wins a digital edition of Electric Literature Volume 1, and the third-place prize comes courtesy of a master of literary constrictions, the Oulipo's Raymond Queneau—the second runner-up will receive Queneau's Exercises in Style, an illustrated short short story collection and field guide to Oulipean language play.

Story entries, which should be submitted via e-mail, are due to Electric Literature on December 31. For the "nit-picky" rules concerning duplicate usage of possessives, plurals, etcetera, visit the Outlet's fine print page.

P&W-supported spoken-word artist Mike Sonksen, author of I am Alive in Los Angeles, blogs about the L.A. poetry scene.

I was at Beyond Baroque in October to witness a book release party for Wanda Coleman. Promoted as her last public reading for an indefinite amount of time, it was worth the congested drive to Venice on a Friday night to see her live. The World Falls Away is her second book published by University of Pittsburgh Press.

She is more blunt than ever, writing, "There is no poison I have not swallowed." Coleman reflects on her childhood in L.A., two marriages, and the loss of her son. Douglas Kearney says, "Wanda Coleman's hard-edged new collection interrogates death's nearsightedness. Mother outlives son. Feet wear out before the heart. And the truth teller dies before truth frees her. These poems don't go gently."

Her sharp poetics always hit with musicality, which is a great fit for the Pitt Poetry Series. The series dates back to 1967 and is dedicated to publishing progressive poetry. Wanda's forty-plus years of work places here among the greatest poets ever to come out of L.A.

Wanda Coleman is one of the major writers covered in Bill Mohr's new book Hold Outs: The Los Angeles Poetry Renaissance 1948–1992, University of Iowa Press. Mohr's book is one of the first real treatments of the history of L.A. poetry. There have been many books on slices of L.A. poetry like Charles Bukowski, the Watts Writers Workshop, and the Venice Beats, but there's never been one book as expansive as this one.

Over a fifteen year period Mohr published a literary journal and several books through his imprint Momentum Press. Mohr's anecdotes about Wanda Coleman, Leland Hickman, Ron Koertge, Gerald Locklin, and Suzanne Lummis bring the Carter and Reagan era alive. His book captures the ethos of the small press movement. Mohr describes the lively circuit of independent bookstores and small press publishers, cataloging the Southern California scene from the Venice Beats to the beginnings of the spoken-word movement.

Photo: Mike Sonksen. Credit: Chris Felver.

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

Write a poem in the style and voice of a personals or classifieds ad. Read C.D. Wright’s “Personals” for inspiration.