Genre: Poetry

Organic Insinuations

“All too often, on a ‘poetry scene,’ people prioritise ‘subject matter,’” says John Burnside in a 2023 interview about his writing process by Jesse Nathan published on McSweeney’s Internet Tendency. “I am sure that, as I am working, environmental concerns insinuate their way into the content of a poem organically, as other concerns will—but I would never start from there.” Inspired by the late Scottish poet, who died at the age of sixty-nine on May 29, write a poem that springs not from a predetermined topic or subject matter, but instead allows you to “trust in the sounds, the rhythms that come out of the day-to-day, the sheer immediacy and truth of the quotidian…and the images that lead, sometimes via fairly roundabout paths, to metaphor.” Later, as you reread and revise, what do you discover is the subject of your poem? What might have organically insinuated itself into your poem?

Seeding Black Futures: Ariana Benson and Ashia Ajani

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In this virtual reading hosted by the Oak Spring Garden Foundation and Furious Flower Poetry Center, Lauren K. Alleyne introduces Ashia Ajani, who reads from their debut collection, Heirloom (Write Bloody Publishing, 2023), and Ariana Benson, who reads from their debut collection, Black Pastoral (University of Georgia Press, 2023), winner of the 2022 Cave Canem Poetry Prize.

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Ocean Vuong in Conversation With Cathy Park Hong

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In this event hosted by the Townsend Center for the Humanities and the Berkeley Art Museum and Pacific Film Archive, Ocean Vuong talks about his journey through poetry and teaching, how his voice and understanding of genre have changed, and whether or not poetry can change the world in a conversation with Cathy Park Hong. “I’ve always been doubtful of myself, of my work, of my life. But when I’m writing, when I’m inside the poem, I rarely feel true fear,” says Vuong.

Mot Juste

5.28.24

“I told a friend about a spill at the grocery store, which—the words ‘conveyor belt’ vanishing midsentence—took place on a ‘supermarket treadmill,’” writes Madeleine Schwartz in a recent essay published by New York Times Magazine about her experience of negotiating with and toggling between the French and English languages after moving from New York to Paris. In the piece, Schwartz notes that as she became more comfortable with living and thinking in French, she noticed a blurring of her linguistic capabilities, including a muddling of her articulative abilities in English. Think about a time or situation when words have failed you, or you’ve drawn a blank as to the mot juste. Write a poem that traces or enacts a loss of language, perhaps using invented words, phrases, and spellings or experimenting with font sizes, line breaks, and spacing.

Night at the Museum

5.21.24

If you could spend a night at any museum, which would you choose, and why? The French publisher Editions Stock has a series of books that begins with this premise—each author selects a museum, arrangements are made for an overnight stay, and a book is written about the experience. In Jakuta Alikavazovic’s Like a Sky Inside, translated from the French by Daniel Levin Becker, she spends a night at the Louvre in Paris, where childhood memories of visits with her father are vividly recalled. “From March 7 to 8, 2020, I spent the night in the Louvre, alone. Alone and at the same time anything but,” writes Alikavazovic. Write a poem that imagines a night at a museum of your choosing, anywhere in the world. What memories will you excavate from this imagined, solitary experience?

Michael Ondaatje on A Year of Last Things

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In this event for Vancouver Writers Fest’s Incite reading series, Booker Prize–winning author Michael Ondaatje reads from his new poetry collection, A Year of Last Things (Knopf, 2024), and discusses why he returned to poetry after twenty years of writing novels in a conversation with Jenny Penberthy. “The voice was the most important thing to find, that I could speak almost casually in a poem, whereas a novel is more formal and planned.”

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Julian Randall: The Dead Don’t Need Reminding

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In this Haymarket Books event, Julian Randall reads from his first essay collection, The Dead Don’t Need Reminding: In Search of Fugitives, Mississippi, and Black TV Nerd Sh*t (Bold Type Books, 2024), which is featured in Page One in the May/June issue of Poets & Writers Magazine. The event also includes an introduction by Gabriel Ramirez and readings by poets George Abraham and Itiola Jones.

Another Country

5.14.24

“I love these raw moist dawns with / a thousand birds you hear but can’t / quite see in the mist. / My old alien body is a foreigner / struggling to get into another country. / The loon call makes me shiver. / Back at the cabin I see a book / and am not quite sure what that is.” In these eight lines that comprise Jim Harrison’s poem “Another Country,” which appears in his final collection, Dead Man’s Float (Copper Canyon Press, 2016), the late poet moves between observations about a natural outdoor setting and the speaker’s own bodily presence, arriving in the final two lines at a sentiment that expresses a feeling of defamiliarization at the seemingly mundane sight of a book. This week write a poem that explores the concept of being so absorbed in one environment or circumstance that to behold a different scene is like traveling to a strange and unknown realm.

Paul Auster: How I Became a Writer

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In this 2014 Louisiana Channel interview from his home in Brooklyn, Paul Auster talks about how a chance meeting with legendary baseball player Willie Mays led him to become a writer and what he has learned about writing. “The essence of being an artist is to confront the things you’re trying to do, to tackle it head on, and if it’s good, it will have its own beauty.” Auster died at the age of seventy-seven on April 30, 2024.

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