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As part of "Poetry of Resistance: Poets Responding to Xenophobia and Injustice," a panel at the Association of Writers and Writing Programs' annual conference, held last week in Boston, Alarcón read "For the Capitol Nine," which he wrote in response to a group of students chaining themselves to the Arizona State Capitol on April 20, 2010, to protest the anti-immigrant legislation Arizona SB 1070.
Marilyn Hacker speaks about the influence of Adrienne Rich, who passed away on March 27, 2012.
Commissioned as part of the City of Melbourne Laneway Commission 2010, Public Writing is a dual-screen digital animation of a readymade sculpture combining a typewriter and the wing and tail plumage of a Yellow Crested Cockatoo. This hybrid writing machine produces text as cutup and concrete poetry.
Claremont Graduate University has announced the winner of the Kingsley Tufts Poetry Award, given annually to a mid-career poet for a book published in the previous year. At $100,000, the Kingsley Tufts Award is one of the largest monetary poetry prizes in the United States.
The 2013 award has been given to Marianne Boruch of West Lafayette, Indiana, for her collection The Book of Hours, published by Copper Canyon Press. Heidy Steidlmayer of Vacaville, California, received the $10,000 Kate Tufts Discovery Award for her debut collection, Fowling Piece (Tri-Quarterly). The Kate Tufts Award is given annually for a first book by a poet.
“We are delighted to honor these poets and celebrate their achievements,” said Wendy Martin, director of the Tufts Poetry Awards program and vice provost at Claremont Graduate University, in a press release. “These awards will help them gain wider recognition and will sustain their continuing commitment to writing outstanding poetry.”
The winners were selected from a list of finalists for each award. Boruch’s most recent books include the poetry collections Grace, Fallen from (Wesleyan, 2008) and Poems: New and Selected (Oberlin, 2004), and a memoir, The Glimpse Traveler (University of Indiana, 2011). Steidlmayer’s poems have appeared in Poetry, Ploughshares, Michigan Quarterly Review, and elsewhere. She has received a Rona Jaffe Foundation Writers’ Award and the 2012 Ploughshares John C. Zacharis Award.
Now in its twenty-first year, the Kingsley Tufts award was established at Claremont Graduate University by Kate Tufts to honor the memory of her husband. The award is presented for a work by a poet “who is past the very beginning but has not yet reached the pinnacle of his or her career.” The Kate Tufts Discovery Award was established in 1993 and is given annually for a debut collection.
The winners will be honored at a ceremony at the Garrison Theater in Claremont on Thursday, April 18. David Barber, Kate Gale, Ted Genoways, Linda Gregerson, and Carl Phillips judged.
Timothy Donnelly received the 2012 Kingsley Tufts Award; past winners include Robert Wrigley, Tom Sleigh, Matthea Harvey, Yusef Komunyakaa, and Chase Twichell.
To be considered for next year's awards, books published between September 1, 2012, and August 31, 2013, may be submitted by September 15. Visit the Claremont Graduate University website for more information and complete submission guidelines.
Write a poem in the form of a letter to an imaginary friend in which you ask them for help that begins, Dear Friend. Keeping the person or creature or entity you’re writing to in mind, include details and images that reveal your imaginary friend’s characteristics as you craft your entreaty.
Rebecca McClanahan's poem, which was published in River Teeth: A Journal of Nonfiction Narrative, will resonate with anyone in Boston later this week for the annual AWP conference and book fair. "Annual Conference: 8,000 Writers Expected" is read by the poet and visualized by Donald Devet.
P&W-funded Regie Cabico is the coeditor, with poet and novelist Brittany Fonte, of the recently published anthology of queer poetry and spoken word, Flicker and Spark (Lowbrow Press). His own work has appeared in over thirty anthologies, including Aloud: Voices from the Nuyorican Poets Café, Spoken Word Revolution, and Chorus & The Outlaw Bible of American Poetry. He received the 2006 Writers for Writers Award from Poets & Writers for his work teaching at-risk youth at Bellevue Hospital in New York. He is a former Artist in Residence at NYU's Asian Pacific American Studies Program and has served as faculty at Banff's Spoken Word Program. He resides in Washington, D.C.
I recently flew to Oakland to jump-start the debut of Cupid Ain’t @#$%!: An Anti-Valentine’s Day Poetry Movement. The series, started by J. Mase the III, has a strong, queer spoken-word bent, with poets of color and queer allies coming together to rail not just about love, but also about political identity through a humor and candor that you don’t get in a lot of poetry readings. In its fifth year, the series has gone to Philadelphia, New York, Washington, D.C., and Oakland. Having performed as a gay Filipino poet for the last twenty years, it occurred to me that the Cupid Movement is giving voice to a queer culture that embraces queer allies and also fosters an intergenerational queer positive environment.
I flew in from Washington, D.C., and into The Living Room Project, an Oakland-based organization devoted to healing, wellness, and serving the queer community. I rode the BART with poet Baruch Porras Hernandez, who curates the Queer Open Mic, the longest running series in the Bay. We were later joined by J. Mase, who flew in from Chicago, as well as trans comedian Natasha Muse. The Cupid show brought in an intimate crowd of a dozen or so: mainly queer folks who heard about the show from queer artists they had been following from New York. Deb Malkin, a college friend and her girlfriend, Cholla Soledad, showed up and made the reading a Valentine’s Day compromise—since Cholla is an anti-V-day cupid-downer. Deb is a Libra romantic. As a poet who performs constantly, you never know who will come or how many folks will show up.
Mase’s poem “Neighbor” was a big hit. The poem is about a homophobic neighbor who gives Mase nasty stares: “Queer people fuck better...and you know it because you live next door...to me.” Baruch’s poem on being “thin” is the best queer poem on body image: “If I were thin I would move a pile of needles naked from one room to another...and sleep with so many skinny boys in my bed because I’d be thin and we can lie in a line on the bed...” Natasha Muse broke her stand-up set into progressions during which she spoke of coming out as trans, starting out as Ewan McGregor and then ending up looking like Nicole Kidman, so watching Moulin Rouge hits her in a very personal way. Natasha concluded her set by talking about becoming a mom and living with her female spouse. The evening had some of the best comedic queer material that I have come across. The owner of The Living Room Project, Micah Hobbes, was impressed by the talent and acknowledged humor as a healing tool.
Photos: (Top) Regie Cabico. Credit: Carlos Rodriguez (Bottom) From left to right: J Mase III, Natasha Muse, Baruch Porras-Hernandez, Regie Cabico.
Support for Readings/Workshops events in Washington, D.C. is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.
Last night, during a ceremony at the New School’s Tishman Auditorium in New York City, the National Book Critics Circle announced the recipients of its book awards for publishing year 2012.
D. A. Powell won in poetry for Useless Landscape, or A Guide for Boys (Graywolf); Ben Fountain won in fiction for Billy Lynn’s Long Halftime Walk (Ecco); and Andrew Solomon won in nonfiction for Far From the Tree: Parents, Children, and the Search for Identity (Scribner).
Leanne Shapton won the autobiography award for Swimming Studies (Blue Rider Press); Robert A. Caro won the biography award with The Passage of Power: The Years of Lyndon Johnson (Knopf); and Marina Warner won the criticism award for Stranger Magic: Charmed States and the Arabian Nights (Belknap Press).
The winners were chosen by a panel of established literary critics from a list of thirty finalists announced this past January. The shortlist in poetry included David Ferry for Bewilderment: New Poems and Translations (University of Chicago Press); Lucia Perillo for On the Spectrum of Possible Deaths (Copper Canyon Press); Allan Peterson for Fragile Acts (McSweeney’s Books); and A. E. Stallings for Olives (Triquarterly). The finalists in fiction were Laurent Binet for HHhH, translated by Sam Taylor (Farrar, Straus and Giroux); Adam Johnson for The Orphan Master’s Son (Random House); Lydia Millet for Magnificence (W. W. Norton); and Zadie Smith for NW (The Penguin Press).
The annual National Book Critics Circle awards are given for books published in the previous year. For more information about the awards, visit the NBCC website.
In the video below, watch the finalists read from their work at last night’s ceremony.
The New Jersey-based publisher CavanKerry Press is helping patients and families awaiting medical attention with The Waiting Room Reader, an anthology of poetry and prose distributed for free to hospitals in select states across the country.
Jennifer Karmin’s multidisciplinary projects have been presented at festivals, artist-run spaces, and on city streets across the United States, Japan, Kenya, and Europe. A founding curator of the Red Rover Series, she is the author of the text-sound epic Aaaaaaaaaaalice (Flim Forum Press, 2010) and her poetry was recently published in I'll Drown My Book: Conceptual Writing by Women (Les Figues Press, 2012). Jennifer teaches in the Creative Writing program at Columbia College Chicago and at Truman College, where she works with immigrants as a community educator. She will be a guest faculty member at Naropa University in the summer of 2013.
With fellow poet Laura Goldstein, I curate the Red Rover Series (readings that play with reading). Founded in 2005, each Chicago event is designed as a reading experiment with participation by local, national, and international writers, artists, and performers. To date, we have hosted over sixty events featuring a diversity of renowned creative minds. The Readings/Workshops program at Poets & Writers has helped support many of our programs in the past few years.
Here are Laura and I in dialogue about our curation:
Karmin: From the beginning with co-founder Amina Cain and our subsequent curator Lisa Janssen, Red Rover has tried to create an environment where anything can happen and often does. Our audience never exactly knows what they're walking into. We're interested in an interdisciplinary approach to events. This often includes nonliterary genres, audience participation, exploring a theme, and playing with seating in the space.
Goldstein: I really think that our series looks at all the elements of a typical series and tries to experiment with them in order to engage an audience with being as aware as possible about what they are experiencing. How are the words presented? How do I relate to the other readers tonight? How can I incorporate the space? How can I incorporate the audience? I think that these elements are taken for granted at a lot of readings.
Karmin: We see the curator as a facilitator of group experience for the writers, artists, and audience members. This is one way we're trying to challenge the usual hierarchies that often play out in the literary and art world. Our main mode of operation is collaboration.
Goldstein: Sometimes people send us proposals as a group, and those are usually a pre-packaged deal. Those writers have been in contact so they come up with a title based on their proposed experiment. If we get individual proposals, we connect the performers and ask them to communicate a bit about what connects their ideas.
Karmin: To experiment is to try something new. To move out of your comfort zone. It's a kind of creative freedom where there's no success or failure.
Goldstein: We call them experiments because whoever is producing the poetry is asked to experiment with the ideas surrounding the work and turn that into a mode of presentation. We also like to call them experiments because there is less pressure on the participants to have something "perfect" or "complete"...it's just something that we are encouraging writers to try out in the community.
As part of the 2013 IN>TIME Festival, Red Rover Series brought the writers of Black Took Collective to Chicago for three February events. Co-Founded in 1999 by Duriel E. Harris, Dawn Lundy Martin, and Ronaldo V. Wilson at Cave Canem, a retreat for African American poets, Black Took Collective is a group of Black posttheorists who perform and write in hybrid experimental forms, embracing radical poetics and cutting-edge critical theory about race, gender, and sexuality. We happily received support from Poets & Writers, Creative Writing at the University of Chicago, Arts + Public Life at the University of Chicago, the Creative Writing Programs at Columbia College Chicago, and the Writing Program at the School of the Art Institute of Chicago.
Thoughts on Black Took Collective’s recent Chicago visit:
J’Sun Howard, writer and dance artist: Two Macbooks with blank documents open for the audience to read periodic automatic writing from the collective, as the piece went along, spread across opposite walls from each other. The third wall facing the audience housed another projection that was a small phantasmagoric video of smiling faces behind a clear makeup-ed mask, Wilson dancing while Lundy read, and more text in bold white letters contrasted eerily with the sleekness, absoluteness, and unfussiness of the other automatic writing projections. In the center of the floor, a table held all the equipment and was flooded with microphones, water bottles, more text, poetry books, props of a gun, and a black mask.
Kenyatta Rogers, poet and teacher: At the Black Took events, I found myself engaged in an experience that combined multiple voices and mediums to give me a different vision of myself as a Black man and in some senses a ‘thing’ to be feared or misunderstood.
Jen Besemer, poet and artist: Dear Plurality of One/s, To say yes and. I can't put any of my questions into words, can only nod my kangol head as the talk happens. I am obsessed with that gun, like ‘is that thing loaded, little caps, what?’ I want to move, too. The words I can't say in the audience I could say onstage. Now why is that? I thank you.
Laura Goldstein:
our bond as an audience in the blue light, paper is hung, within
letters skip, turn into that knot ronaldo was taking about. what fits
in frame. duriel's fairy tale: feel skin, found doubt, in you. each for
each. and dawn the tone and tongue. gently peel back the sack, give heart attack.
At the end of Black Took Collective’s evening of performance, I lead a short tribute to poet, performer, and activist Jayne Cortez, who died on December 28, 2012. Calling for five volunteers from the audience, we presented a choral reading of the Cortez poem "Find Your Own Voice". One by one, I tapped the readers on their shoulders and asked each to start reading. Listening to the voices spontaneously weave together, I was reminded that curating is often a form of making a live collage and witnessing the ways creative community gets formed.
Photo: (from top) Jennifer Karmin. Credit: Amina Cain. Ronald V. Wilson, Dawn Lundy Martin. Credit: Laura Goldstein. Duriel E. Harris. Credit: Laura Goldstein.
Support for Readings/Workshops events in Chicago is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.
