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The 49th annual Southampton Writers Conference was held from July 10 to July 14 at the Stony Brook Southampton campus in Southampton, New York, located on the Atlantic coast 90 miles east of New York City. The conference featured workshops in poetry, fiction, and creative nonfiction, as well as readings and an agent panel. The faculty included poets Billy Collins and Diana Khoi Nguyen, fiction writer Julia Phillips, fiction and nonfiction writers Matthew Klam and Frederic Tuten, and memoirist Nadia Owusu.
Southampton Writers Conference, Stony Brook Southampton, Chancellors Hall, 239 Montauk Highway, Southampton, NY 11968. (631) 632-5007. Christian McLean, Conference Director.
The 34th annual Sewanee Writers’ Conference was held from July 16 to July 28 on the campus of the University of the South in Sewanee, Tennessee. The conference featured workshops, special topics classes, lectures, one-on-one meetings with faculty, and readings for poets, fiction writers, and nonfiction writers. The faculty included poets Marianne Chan, Eduardo C.
Sewanee Writers’ Conference, University of the South, 735 University Avenue, Sewanee, TN 37383.
“You have changed me already. I am a fireball / That is hurtling towards the sky to where you are,” begins Dorothea Lasky’s “Poem to an Unnameable Man” from her 2010 collection, Black Life. The poem’s speaker regales their addressee with the projected story of their intense connection, as Lasky incorporates cosmic imagery, a confessional tone, and grandiose language combined with an intimate, idiosyncratic voice. This week write a poem that traverses the galaxy and addresses someone or something you feel tethered to, as if you’re “hurtling towards” them. As you write, play around with figurative language that points to both sizable and smaller, nuanced observations.
“Your instinct to wait to publish is right. You only get one debut.” —Omotara James, author of Song of My Softening
The author of Midwhistle contemplates the common ground between jazz music and poetry.
In this Button Poetry video, Patricia Smith reads her poem “An All-Purpose Product,” which appears in her award-winning collection Shoulda Been Jimi Savannah (Coffee House Press, 2012), for the 2016 Get Lit Classic Slam in Los Angeles.
Poets of African descent sitting on a first or second collection (including work that intersects with poetry, such as hybrid text, speculative prose, and translation) should not miss out on the chance to submit to the Center for African American Poetry and Poetics/Autumn House Press Book Prize. This year’s deadline is February 15. The annual prize awards $3,000 and publication to a writer “embodying African American, African, or African diasporic experiences.”
Using only the online submission system, submit 48 to 168 pages of poetry or poetry-adjacent work. There is no entry fee. Visit the website for complete guidelines.
Founded in 1998, Autumn House Press publishes books in all genres with the belief “that literature is an affirmation of the deep and elemental range of our human experience” and that “our need for it is crucial now more than ever.” Over the years, the press has met this commitment by putting out debut poetry collections such as Ada Limón’s Lucky Wreck (2006), Danusha Laméris’s The Moons of August (2014), Cameron Barnett’s The Drowning Boy’s Guide to Water (2017), and Eric Tran’s The Gutter Spread Guide to Prayer (2020). This year’s CAAPP Book Prize judge, Aracelis Girmay, is a hybrid genre poet whose most recent work is the chapbook and was a flower (Center for Book Arts, 2023), made in collaboration with book artist Valentina Améstica.
“To make ancestors whole is to imagine, collectively, publicly, who they were and what their experiences were like.” In this New York Public Library event, former Cullman Center fellow and Pulitzer Prize–winning author Gregory Pardlo discusses the themes within his latest poetry collection, Spectral Evidence (Knopf, 2024), and talks about interrogating the present-day erasure of Black history in a conversation with Imani Perry.
“In writing the sonnets of frank, the form was a rescue raft, a lifeline, the safety net beneath the trapeze act. I liked how it equalized every event, relationship, song, or story that the individual sonnet might take on,” says poet Diane Seuss in a 2022 Publishers Weekly interview with Maya C. Popa about her Pulitzer Prize–winning collection, in which she explores with brutal frankness her personal history and themes of death, illness, addiction, and love. Inspired by Seuss, write two fourteen-line sonnets with vastly different subjects. In using a specific form to create a sort of equalizing force between topics, how do the minor victories and upsets of mundane occurrences find balance with the heavier ups and downs of your life?
