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In this Green Apple Books event, Nick Martino reads from his debut poetry collection, Scrap Book (Alice James Books, 2026), and discusses how he used different types of archival documents to explore how his father’s incarceration shaped his life in a conversation with Brian Tierney. Scrap Book is featured in Page One in the July/August 2026 issue of Poets & Writers Magazine.
In this episode of the SlantCast podcast, Gregory Wolfe, founder of Slant Books, and Emily Kwilinski, the press’s managing editor, speak with author and industry insider Jim Hanas about the role of indie presses in the book business. Slant Books is featured in Small Press Points in the July/August 2026 issue of Poets & Writers Magazine.
In this San Francisco Public Library event, San Francisco Poet Laureate Genny Lim reads a selection of her poems alongside readings by the 2026 cohort of San Francisco youth poets laureate: Karan Gupta, Aisha McCulloch, and Tika Zahiri.
In an interview for the Poetry Society of America, Diane Seuss talks to Jennifer Franklin about how she writes with a keen awareness of the body as a site of both immense precarity and radical agency. When considering the role of structure in poetry, Seuss draws a parallel between the literary form and human form, how language can be compressed and lead through the formal constraints of a poetic form in the same way the human body can act as an impediment and a guide. “We write with all of ourselves,” she says, “at our best.” Write a poem that uses the structure of a poetic form to reflect on the nature of the body. Explore how the lyrical imagination pushes against structure, like the body “compresses the soul,” as Seuss describes. How does the inclusion of the body anchor your writing, and how might you play within these confines?
Write a poem that explores memories of the end of summer, a story that features a character working on a project about a person’s biography, or a travel journal with poetic observations of a singular moment or image in time.
In Lift Every Voice, Phillip B. Williams explores the devastating effects of avoiding grief, and sitting with that feeling, more than two decades after his father’s death, is what allowed him to finally mourn and eventually make his art.
Jane Kenyon’s poem “Three Songs at the End of Summer” features three portraits of late summer, each evoking its own distinct sounds, moods, and atmosphere. The first section of the poem begins with “a second crop of hay” and “five gleaming crows,” continues through the sights and sounds of summer camp, and ends with a couplet that gestures to autumn: “Schoolbooks, carpools, pleated skirts; / water, silver-still, and a vee of geese.” The second section consists of two three-line stanzas infused with the sound of cicadas, and in the final section, Kenyon explicitly reaches back in time to the speaker’s childhood and the scent of a damp dirt road on a foggy morning. Taking inspiration from this structure, write a three-part poem that explores a few resonant memories of the end of summer—fleeting images and sounds and smells of various activities. Experiment with sections of varying lengths to create dramatic effect.
A prize of €1,000 (approximately $1,175); publication by Southword Editions, Munster Literature Centre’s publishing imprint; and 25 author copies is given annually for a poetry
