Write a story structured around a series of vignettes based on the descriptions of imagined photographs. For an example, read Heidi Julavits's "Marry the One Who Gets There First: Outtakes From the Sheidegger-Krupnik Wedding Album," included in The Best American Short Stories, 1999 (Houghton Mifflin, 1999).

About six weeks after the announcement of the finalists for this year's T. S. Eliot Prize, a fifteen-thousand-pound award (approximately $23,500) given for a poetry collection, two poets have dropped off the shortlist. Australian writer John Kinsella followed British poet Alice Oswald, who won the award in 2002, in withdrawing from the running, both taking issue with the recently-established partnership of the Poetry Book Society, the prize administrator, with Aurum, an investment firm. Aurum signed on earlier this fall for a three-year sponsorship of the prize after the Poetry Book Society got word that it would lose funding from England's Arts Council effective in 2012.

"I am grateful to Alice Oswald for bringing the sponsorship of the T. S. Eliot Prize to my attention," said Kinsella, shortlisted for Armour, in a statement issued by Picador, his publisher. "I regret that I must do this at a particularly difficult time for the Poetry Book Society but the business of Aurum does not sit with my personal politics and ethics."

Oswald, shortlisted for her book Memorial (Faber and Faber), withdrew on Tuesday, citing Aurum's involvement in the management of hedge funds. "I think poetry should be questioning not endorsing such institutions," she said.

Following Oswald's announcement, Chris Holifield, director of the Poetry Book Society, said the poet would not be replaced on the shortlist with another contender. "It's too late to do that, which is unfortunate as there were other good people who would have liked to be on the shortlist," she told the Guardian. The Guardian reported that the Poetry Book Society declined to comment on Kinsella's withrawal.

Remaining on the shortlist are John Burnside's Black Cat Bone (Jonathan Cape), Carol Ann Duffy's The Bees (Picador), Leontia Flynn's Profit and Loss (Jonathan Cape), David Harsent's Night (Faber and Faber), Esther Morgan's Grace (Bloodaxe Books), Daljit Nagra's Tippoo Sultan's Incredible White-Man-Eating Tiger Toy-Machine!!! (Faber and Faber), Sean O'Brien's November (Picador), and Bernard O'Donoghue's Farmer's Cross (Faber and Faber). The winner will be announced on January 16.

Tonight in Santa Monica, California, United States Artists (USA) fetes fifty American artists, including three poets and a fiction writer, awarding them no-strings grants of fifty thousand dollars each. Among the winners are Terrance Hayes, who received the National Book Award in poetry last year for Lighthead (Penguin Books); poet Campbell McGrath, who won a MacArthur "Genius" Fellowship in 1999; 2011 MacArthur fellow A. E. Stallings, a poet and translator; and fiction writer Karen Tei Yamashita, whose novel I Hotel (Coffee House Press) was a finalist for the 2010 National Book Award.

The writers are recognized along with, among others, playwright Annie Baker; choreographer Liz Lerman; musician George Lewis; visual artist Lorraine O'Grady; and John Collins, the artistic director and founder of the Elevator Repair Service theater company, which has created literary productions such as Gatz, a marathon performance of The Great Gatsby, and the Hemingway-inspired The Select (The Sun Also Rises). Complete profiles of all fifty fellows are posted on the USA website.

The USA fellowships have been awarded since 2005 in an effort "to close the gap between the love of art and the ambivalence toward those who create it" (the grant program was created in response to the results of a study done by the Urban Institute showing that while 96 percent of Americans say they value art, only about a quarter believe that artists contribute to the good of society). Over the past six years USA has awarded fifteen million dollars directly to artists.

In the video below, 2011 fellow Campbell McGrath, who lives in Miami Beach, reads at the O, Miami poetry festival last spring.

Think of a person from your past, someone you wish you'd gotten to know better and have always remembered. Think about why you wish you'd gotten to know this person better—did he or she do something that intrigued you, did he or she have a particular way about them, did you share an important moment together? Write a poem to this person, exploring what it was about him or her that has remained with you, even though the person hasn't. 

P&W-supported spoken-word artist Mike Sonksen, author of I am Alive in Los Angeles, blogs about poetry and activism.

Whether MFA candidates, avant-garde scribes, spoken-word artists, or traditional poets, there are more bards alive now than ever before. But, what exactly does it mean to be a poet? I think of a quote from Los Angeles poet Kamau Daaood. Daaood told Erin Aubry Kaplan in the L.A. Weekly, "When people run to open mics these days, it's mostly about ego–getting fifteen minutes... I [see] it as a jam session, swapping ideas, getting inspiration from other people."

In 2005, Daaood's The Language of Saxophones was published by City Lights Booksellers & Publishers. Daaood never pursued being published because he was too busy working in the community. Daaood has performed for more than four decades at festivals, galleries, jazz clubs, churches, schools, prisons, or wherever duty calls.

Another poet with the same commitment is Lewis MacAdams. MacAdams studied with Robert Creeley at the University of Buffalo in the 60s and hung with New York School poets. MacAdams became an environmental activist/poet in Bolinas, California, during the 70s and was a fixture at the San Francisco State University's Poetry Center. In 1980 MacAdams landed in L.A. There he discovered the Los Angeles River, and was outraged by the concrete channel housing the watershed. He decided to begin a forty-year performance piece dedicated to returning the river to its natural state.

One night in 1986 he performed a suite of poems dedicated to the Los Angeles River while being dressed up as a totem of flora and fauna specific to the river. This was the birth of the Friends of the Los Angeles River (FoLAR). Twenty-five years after FoLAR's founding, the River has had several stretches restored back to its natural state. MacAdams started the river's resurrection with poetry. His new book Dear Oxygen, published by the University of New Orleans Press collects forty-five years of his life's work. MacAdams like Daaood has spent a lifetime using poetry to improve his community. Their work reminds me of the benchmark for which poets should aim.

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.