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Think about something that you did or said to someone that you regret. Write a poem of apology, comprising five four-line stanzas, with the same number of stressed syllables in each line. Avoid sentimentality. Rely on images, rhythm, and structure to convey your regret.
PW-funded poet Camille Dungy blogs about the daily life of writers and the role Poets & Writers' Readings/Workshops program plays in that life. Dungy is a professor in the Creative Writing Department at San Francisco State University. She has published three collections of poetry—Smith Blue (Southern Illinois University Press), winner of the 2010 Crab Orchard Open Book Prize; Suck on the Marrow (Red Hen Press); and What to Drink, What to Leave for Poison (Red Hen Press).
If you are reading this post you may be interested in understanding more about the life of the writer. What is it we do all day?
I'll tell you: We answer questions.
That's about all we do. We see something and we ask a question about it, and then we write towards our best answer to that question. Or, someone asks us a question, and we don't know the answer right away, and we write toward our best answer. Or we get angry, or sad, or irrationally happy, and we want to work our way away from or back into that emotion. Did JFK really love Jackie? What color would you say is prominent in that sunset? Why don't they understand climate change isn't a joke? We wouldn't be writers if we didn't live with a stockpile of questions awaiting our response. What was she thinking when she drove away from that job? What was she thinking when she drove into the valley. What was she thinking? What?
The Poets & Writers Readings/Workshops program is all about helping writers. When P&W co-sponsors a program, community arts organizations kick in a portion of a reader's fee and then P&W matches that sum. Have you ever wondered what was in those white envelopes people hand to workshop facilitators at the end of a seminar? I'm telling you the secret now: At the end of every Poets & Writers co-sponsored program, writers receive a check stapled to a questionnaire printed on salmon-colored paper and an envelope in which to return the questionnaire. P&W asks writers a slew of questions, and they encourage them to write their answers down.
Questions, questions, questions. These are what we writers dream of all day.
The front side of the questionnaire is easy. Did you get paid? How many people attended the event? Your audience was made up of people representing what ages, ethnicities, etc.? Were your books sold? Was the publicity acceptable? Would you work with these people again? One-word answers can suffice: yes, 5049, mixed, yes, yes, yes. There is no room for elaboration on that first page.
But that's one of the most important things writers do all day, we have to develop elaborate answers. Writers read more into the world than is immediately evident. Vanilla ice cream only has to be plain if you do not push yourself to taste the nuances of the vanilla bean, the variations in the consistency of the cream, to feel the coldness on your inner cheek, and conceptualize the heat transference that made the bite you just took melt over your tongue. Do I like vanilla ice cream? Yes, I could write. Or I could write much, much more.
So, it's generous that Poets & Writers, as part of their mission to support writers, provides a second page on their questionnaire with a series of complicated questions requiring elaboration: Describe the event, including the event program and the audience response. How effective was the sponsoring organization in presenting this event? Are there ways the organization could better assist readers or workshop teachers? What was the impact of receiving support from Poets & Writers on your experience of this event, your career as a writer, your relationship with your audience, etc?
If I could figure out really good answers to these questions, I could write a whole book.
That's what we do all day as writers. We ask ourselves, how am I going to write a whole book? Then we go looking for answers.
Photo: Camille Dungy. Photo credit: Marcia Wilson/Wide Vision Photography.
Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.
Written in the midst of a deep depression, Eric Pankey’s “Cogitatio Mortis” (Latin for “I think of death”) is translated by video artists Jeff Saunders and Scott Olson in the latest installment from Motionpoems.
Meridian, the literary journal of the University of Virginia, is currently accepting submissions for its annual Editors’ Prize. Two awards of $1,000 each and publication are given for a poem and a short story. The deadline is January 8.
Emerging writers who have published no more than one full-length book, and who are not current students, staff, faculty, or recent alumni of the University of Virginia, are eligible to enter. Using the online submission system, submit up to four poems totaling no more than ten pages or a story of up to 10,000 words with an eight-dollar entry fee. Writers may submit two entries per genre, and all entrants receive an electronic subscription to Meridian. Winners will be announced in late March.
Founded in 1998 in conjunction with the MFA program at the University of Virginia in Charlottesville, Meridian is published twice yearly, and has featured such writers such as Richard Bausch, Ann Beattie, Bonnie Jo Campbell, Rita Dove, Seamus Heaney, Yusef Komunyakaa, and Charles Wright. The 2012 Editors’ Prize winners were poet Laura Davenport for “Apology for a Horse” and fiction writer Janet Hilliard-Osborn for “Easter, 1954.” Both winning works were published in the May 2012 issue of Meridian. In addition to the annual prize, the journal accepts general submissions of poetry, fiction, and creative nonfiction year-round.
For more information about Meridian, and for complete submission guidelines, visit the website.
Kioni "Popcorn" Marshall, who has been writing poetry since the age of five and performing at New York City venues since she was nine, reads her poem "Love."
Start the year off with one of Shakespeare’s favorite forms. Write a sonnet, a poem comprising fourteen lines that incorporates the following rhyme scheme: a-b-a-b, c-d-c-d, e-f-e-f, g-g. (For example, the words at the end of the first and third lines rhyme, etc.) Before you begin, flip through any book and select seven words at random. Use these words, or variations of them, in the poem.
With so many good books being published every month, some literary titles worth exploring can get lost in the stacks. Page One offers the first lines of a dozen recently released books, including Adam Mansbach's Rage Is Back and Yoko Ogawa's Revenge, as the starting point for a closer look at these new and noteworthy titles.
The Emily Dickinson Museum in Amherst, Massachusetts, presented the inaugural “Tell it Slant” award to poet Kay Ryan earlier this month, during a two-day celebration of Emily Dickinson’s birth.
The annual award was established this year by the Emily Dickinson Museum’s Board of Governors in order to honor an individual in any field “whose life work is imbued with the creative spirit of the Amherst poet.” The award takes its name from the well-known Dickinson poem which begins: “Tell all the Truth but tell it slant—/ Success in Circuit lies / Too bright for our infirm Delight / The Truth's superb surprise.”
Ryan, the U.S. Poet Laureate from 2008 to 2010, published her first book of poetry, Strangely Marked Metal (Copper Beech Press), in 1985. She went on to receive the Ruth Lilly Poetry Prize and a Guggenheim Fellowship in 2004, and her seventh book, The Best of It: New and Selected Poems, published in 2010 by Grove Press, received the Pulitzer Prize for Poetry. She was awarded a MacArthur "Genius" Grant in 2011.
According to a recent press release from the Dickinson Museum, “Kay Ryan’s style has often been compared to Emily Dickinson’s for its originality and knotted syntax. Dickinson’s poems powerfully convey observations about the natural world, pain and suffering, ecstasy and contentment, and the nature of mortality and immortality. Ryan’s poems are likewise compact, uncluttered, and crackling with wry amusement that belies their density of meaning.” Presenting the award, Gigi Bradford, a member of the Dickinson Museum’s Board of Governors and chair of the Folger Shakespeare Library Poetry Board, said, “Unlike any other poet writing today, Kay Ryan takes Dickinson’s sense of how poetry—sometimes playfully and lightly but always from a slant—helps us to answer the central questions of what it means to be human.”
The award was presented on December 6, a day that marked the 182nd anniversary of Emily Dickinson’s birth. To find out more about the “Tell It Slant” award, and for more information about the Emily Dickinson Museum and Homestead in Amherst, visit emilydickinsonmuseum.org.
In November, P&W-supported writer Douglas Kearney gave a reading at The Art League and led a workshop at Project Row Houses in Houston, which he writes about below. Kearney is a poet/performer/librettist based in Southern California’s Santa Clarita Valley, where he lives with his family and teaches at California Institute of the Arts. His second collection, The Black Automaton (Fence Books 2009), was a National Poetry Series selection. Red Hen Press will publish Patter in 2014.
Back in April, I had a Skype exchange with poet/activist John Pluecker and a poetry group he led at Project Row Houses in Houston’s Third Ward. It went well enough that JP decided to get me down there to do a reading and workshop. Cool. I hadn’t been to Houston in a minute and hadn’t done much touring in the South to promote The Black Automaton. He was awarded funds from the Readings/Workshops program, which, with help from Project Row Houses, was enough to fly me down and provide a stipend. The reading was slated for Kaboom Books and the workshop, for Project Row Houses. Straightforward. But. BUT! It just so happened Houston was a great big X on the African-American Arts treasure map on November 16, 2012. Contemporary Arts Museum Houston was opening “Radical Presence: Black Performance in Contemporary Art” and The Art League was opening STACKS, a group exhibition of emerging artists curated by Robert Pruitt for five week-long residencies.
JP has his finger on the pulse of such things and wondered whether we might be able to tap in to the visual arts audiences and more of the African-American folks he hoped would come to my reading at Kaboom. So, with a week to go before the reading, hatched a plan, he did. He asked Kaboom whether they might be willing to give me up that evening. With their gracious permission, he contacted Pruitt about creating some kind of collaboration that would allow me to join the Art League artists for their opening. With his enthusiastic blessing, JP contacted me. It happened I know Pruitt’s work from a commission connected to Studio Museum in Harlem’s 2005–6 Frequency show.
So, yeah, I was interested.
The Art League opening, which featured artists Jamal Cyrus, Nathaniel Donnett, Autumn Knight, Phillip Pyle II, and M'kina Tapscott, involved a woodchipper and the woodchipper’s effect on objects that signify Blackness®. We decided I would perform eulogies for some of these objects. I thought it would be a nice processual kick in the behind to compose new work for the occasion. After all, preachers don’t get much time to write them. Ultimately, I eulogized a pair of sneakers, an afro pick, a box of Nag Champa, some bootleg t-shirts with hip hop memes on them, and a Malcolm X X-hat. You can see the ceremony here.
The next afternoon, I did a more traditional reading (with digital projector and audio) at Project Row Houses and then launched into a workshop with JP’s group, about twenty strong. The workshop—Unsung & Remixed: Using Song Lyrics in Poems—continued the multimedia/interdisciplinary theme of the visit, directing participants to write poems using Afaa Michael Weaver’s Bop form; integrate parodies of a song they were sick of; or compose a “cover” of a song they loved. An eight-year-old brought the house down and a sixty-something-year-old built it back up.
The Readings/Workshops program in conjunction with a coalition of Houston’s arts community made a fantastic trip possible. Excellent! Plus, I got to eat BBQ. Y’all need a Readings/Workshops/BBQ program. Trill.
Photo: Douglas Kearney. Credit: Eric Plattner.
Support for Readings/Workshops events in Houston 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.
Write a poem that is a list of people, places, and/or things that you long for.
