The New York Public Library held its eleventh annual Young Lions Fiction Award celebration last night, honoring five emerging fiction writers with books published in 2010. After readings of the finalists' works by actors Billy Crudup and Martha Plimpton, Chicago author Adam Levin was named winner of the ten-thousand-dollar prize for his novel The Instructions (McSweeney's Books).

Levin's fellow honorees, receiving one thousand dollars each, are John Brandon for Citrus County (McSweeney's Books), Patricia Engel for Vida (Grove Press), Suzanne Rivecca for Death Is Not an Option (Norton), and Teddy Wayne for Katptoil (Harper Perennial).

The award, cofounded by Ethan Hawke, Rick Moody, Jennifer Rudolph Walsh, and Hannah McFarland, is given annually for a work of fiction by a writer age thirty-five or younger.

In the video below, McSweeney's Books presents a teaser trailer for Levin's winning novel.

Poet Collin Kelley, curator of the Poetry Atlanta reading series, gives a shout-out to Atlanta/Decatur R/W-sponsored presenters of literary events.

At this writing, nearly fifty organizations have applied for funding in the Atlanta/Decatur area. To close out my time as the inaugural R/W blogger, I want to name those organizations. Whether you’re reading in Atlanta or one of the other cities eligible for P&W funding, you’ll see just how diverse this list of grantees is, and if you are a presenter/curator of literary events, the time to apply for funding is now.

Atlanta/Decatur grantees: Academy Theatre, AJC-Decatur Book Festival, Atlanta Queer Literary Festival, Atlanta Vet Center, Below the Radar, Black on Black Rhyme, BreakinIce, Callanwolde Fine Arts Center, The Chattahoochee Review, Charis Books and More, Chris Kids, Inc., Clark Atlanta University, Composition Gallery, Duck & Herring Co., E- Period, Epiphany Services, FFX Free Forum Xchange, Finding Eve Café, Five Points, galerieMC, Georgia Poetry Society, Georgia Writers Association, Georgia State University Creative Writing Program, Hammonds House Art Galleries, Holiday Theatre Festival, Indie, Java Monkey Coffee House, Just Queen Productions, LaGender, Inc., Lasnyte Entertainment, Louise Runyon Performance Company, Mercer University, MJ of Poetry Entertainment, Natural Reignz, Inc., Oglethorpe University, One Mic Entertainment, Organized Rhyme, Poetry at Tech, Poetry Atlanta, Inc., Shambhala Meditation Center of Atlanta, Spelman College, The Ace of Spades, Inc., Three on Third, Verbal Slick, Working Title Playwrights, Inc., and Yesterday's Girl.

P&W’s fiscal year runs July 1 to June 30. In some cases, the available funds for your city might have already been tapped out, but July will be here before you know it. Apply now if you have an event coming up in 2011/2012. The application takes ten minutes to complete and can be faxed or e-mailed to P&W – it doesn’t get any simpler than that.

Support for Readings/Workshops events in Atlanta is provided by an endowment established with generous contributions from Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.

In honor of Mother's Day, we asked Ayelet Waldman, author of Bad Mother: A Chronicle of Maternal Crimes, Minor Calamities, and Occasional Moments of Grace, to talk about how she works with her literary agent Mary Evans. 

You've written an eclectic mix of fiction and nonfiction: mystery novels, literary novels, personal essays, as well as a new foray into television. Does your agent, Mary Evans, play a role in deciding what to write next? Does she offer long-term career advice, encourage or discourage you in taking on the next project?
She's wonderfully encouraging, my biggest cheerleader next to my husband. She's always eager for me to try new things, to stretch my wings in different directions. She's never once said anything like, "Oh the mysteries are working, don't try to write more 'literary' fiction" or "The nonfiction mommy stuff sells well, do more of that." I think she genuinely views her role as facilitating my growth as a writer, even when, on occasion, that means making a less commercial choice.

Agents are notoriously over extended and distracted as they deal with their many clients, or courting editors, answering numerous queries, etc. Do you wait for Mary Evans to contact you, for instance, if she's had a manuscript for a long while with no word? Or do you not hesitate to call or write to check in?
I feel truly blessed. Mary always calls me back right away, and on the very rare occasion where she can't return my call within a couple of hours, she's hugely apologetic. She turns my manuscripts around immediately, usually that same weekend, and certainly within a week or two. I feel comfortable (perhaps too comfortable) checking in about the work she's looking at, about my career in general, about how much I hate the Republican majority in the House.

Daughter's Keeper, published in 2003, your first literary novel, was rejected thirty-one times before finding a publisher. Tell us about Mary Evans's role in seeing that novel to fruition. Did she edit, or suggest rewrites between submissions?
Absolutely. In fact, it's my fault it was rejected so many times, not hers. She very gently suggested from the beginning that I do more work on it before I sent it out, but I was about to give birth and I desperately wanted the novel out the door. Had I done what she said, I probably would have sold the novel a lot earlier. And in the end, of course I had to do the work anyway.

And last, a related question: Does Mary Evans edit your work, either a full manuscript or a nonfiction proposal, before it's sent out to editors? Or does she send it out as is?
I wouldn't feel comfortable sending something out without her practiced eye. She reads everything, comments on everything, and yet doesn't push. She'll read multiple drafts of a novel, even when we're at the stage of things where I'm submitting directly to my editor. I like having her input, and I think she enjoys this part of the job.

Choose a sentence from a newspaper whose meaning gets larger and stranger when taken out of context. Use it as the first line of a poem. If you get stuck partway into the poem, try repeating just part of the line and vary how you complete the rest of the sentence, changing the meaning and music of the line each time. When you have a draft you like, try moving the full sentence to the end of the poem, or somewhere to the middle, or maybe take it out entirely. Stir, and see what happens.
This week's poetry prompt comes from Idra Novey whose debut collection The Next Country received the Kinereth Gensler Award from Alice James Books and was included in Virginia Quarterly Review's list of Best Poetry Books of 2008. She teaches in the School of the Arts at Columbia University.