ABC

POETS & WRITERS MAGAZINE • VOLUME 50 • ISSUE 2 • MARCH/APRIL 2022

FEATURES
38 NAMING THE NOWHERE THAT L ANGUAGE
WAS STUCK IN
Six years after the release of her acclaimed debut, Look,
Solmaz Sharif returns with a second poetry collection, Customs,
that builds upon the poetic scrutiny she has leveled at the nature
of language, forever in tension with the nature of being.
by dougl as k e a r n ey

45 WRITERS GROUPS
Creating a space where your writing can thrive.

45 A Practical Guide to Starting a Group

of Your Own
by michelle w ildgen

48 The Many Different Kinds

of Writers Groups
by jessic a k ashi wa ba r a

50 Reenvisioning the Writers Group

by yona h a rv ey

52 The Perfectly Balanced

Writers Group
by a imee chr isti a n

53 A Former Pollyanna Learns

the Value of Critical Feedback
by ashley memory

SOLMAZ SHARIF BY JASON ARMOND

COVER BY JASON ARMOND
 ABC
POETS & WRITERS MAGAZINE • VOLUME 50 • ISSUE 2 • MARCH/APRIL 2022

DEPARTMENTS pw.org
8 Editor’s Note THE LITER ARY LIFE Search our Conferences &
Residencies database,
11 Reactions 23 The Time Is Now
Writing prompts and exercises. which features more than
two hundred retreats,
NEWS AND TRENDS 25 Confessions of a Failed Novelist residencies, conferences,
12 Lampblack offers mutual aid and If at first you don’t succeed,
and festivals and includes
community to Black writers, Letras try, try, try, try, and try again.
by stev e a lmon d photographs, application
Boricuas fellows showcase the vitality fees, deadlines, details
of Puerto Rican literature, translators 31 Becoming a Mother-Writer about programming
call for equitable compensation and Notes on reconciling the personal, during the pandemic,
acknowledgement of their work, the professional, and the political. accessibility information,
an interview with David Treuer of by na mr ata podda r
and everything else you
Pantheon, and more.
need to know to plan your
THE PR ACTICAL WRITER next writing adventure.
57 Book Advances 101 Create a space where your
An author’s guide to getting paid. writing can thrive using
by li ncoln michel
Poets & Writers Groups:
61 First Build a free writer profile
Paul Tran’s All the Flowers Kneeling. with details about your
by r igoberto gonz á lez
writing experience and
67 The Fully Fact-Checked Memoir preferences for a writers
Backing up facts, standing behind truth. group, such as meeting in
by sa r a h fay person or online, frequency,
genre, and group size, then
77 Grants & Awards search for a group to join or
Over 85 upcoming deadlines, plus start one of your own.
2 new awards, and 91 recent winners.
Post information about
107 Conferences & Residencies your next online reading,
Retreats—from Reykjavík, Iceland, workshop, panel, talk, or
to Bogliasco, Italy. performance using our
120 Classifieds Literary Events Calendar.
Calls for manuscripts, job openings, Read an excerpt from
and more. Steve Almond’s new novel,
136 Rhode Island Writers Connect All the Secrets of the World.
From Poets & Writers, Inc. Listen to original audio
recordings of authors
featured in Page One,
including Daniel A. Olivas,
Julie Otsuka, and Roger
COM I NG SOO N Reeves, plus Sarah Fay

21
A deep dive into the world of writing reading the prologue of
contests…Agent Advice…Simon Van Booy her memoir, Pathological:
on how to reconcile writing style and plot… The True Story of Six
Jami Attenberg on 1000 Words of Summer. Misdiagnoses.

5 POETS & WRITERS

 ABC POETS & WRITERS MAGAZINE
Volume 50 • Issue 2

Editor in Chief Publisher

KEVIN LARIMER ME LI S S A FO RD GR A DE L

Managing Editor Associate Publisher

ARIEL DAVIS TI M O ’SU L L I VA N

Senior Editor Assistant Director of Advertising

EMMA KOMLOS-HROBSKY A MY F ELT MA N

Associate Editor Advertising Assistant

SPENCER QUONG JES S I CA L I P T O N
Assistant Editor Circulation
INDIA LENA GONZÁLEZ MA S T C IR CUL ATI O N GR OUP

Art Director Director of Finance

MURRAY GREENFIELD TI A WI L L IA M S

Copy Editor Staff Accountant

ANTOINE DOZOIS JA SO N THOM A S

Contributing Editors
MICHAEL BOURNE
JEREMIAH CHAMBERLIN
JOFIE FERRARI-ADLER
RIGOBERTO GONZÁLEZ PO ET S & WR I TER S , I NC .
DEBRA GWARTNEY
Executive Director
DANA ISOKAWA
ME LI S S A FO RD GR A DE L
TAYARI JONES
RUTH ELLEN KOCHER
Executive Director Emeritus
AIMEE NEZHUKUMATATHIL
EL L I O T FIG M A N
CLAUDIA RANKINE
CLINT SMITH Founding Chair
ESMÉ WEIJUN WANG GAL E N WI L L I AMS

Poets & Writers Magazine (issn 0891-6136) is published bimonthly by Poets & Writers, Inc., 90 Poets & Writers Magazine is available on microfilm from University Microfilms International,
Broad Street, Suite 2100, New York, NY 10004. Subscription: $19.95/year, $38/2 years; $6.99 single 300 North Zeeb Road, Ann Arbor, MI 48106. Poets & Writers Magazine can be heard on the
copy. Subscription inquiries: Write to Poets & Writers Magazine, P.O. Box 422460, Palm Coast, FL telephone by persons who have trouble seeing or reading the print edition. For more information
32142-2460; call (386) 246-0106; e-mail poets&[email protected]; or visit our contact the National Federation of the Blind NFB-NEWSLINE® service at (866) 504-7300 or go
website, www.pw.org. Advertising Media Kit: Call (212) 226-3586 or visit www.pw.org/about-us/ to www.nfbnewsline.org. Postmaster: Send address changes to Poets & Writers Magazine, P.O.
advertise. Change of address: Please provide both address from last issue and new address. Box 422460, Palm Coast, FL 32142. Periodicals postage paid at New York, NY, and additional
Allow six weeks’ notice. Permissions inquiries: Requests for permissions and reprints must be mailing offices. Copyright © 2022 Poets & Writers, Inc. Poets & Writers and From Inspiration
made in writing to Poets & Writers Magazine, 90 Broad Street, Suite 2100, New York, NY 10004. to Publication are registered trademarks of Poets & Writers, Inc.

Poets & Writers, Inc., is a nonprofit, tax-exempt corporation organized for literary and educational purposes, publicly supported by the New York State Council on the Arts, the National Endowment
for the Arts, the California Arts Council, the New York City Department of Cultural Affairs, foundations, corporations, and individuals. Donations to Poets & Writers are charitable contributions
under Section 170 of the Internal Revenue Code. A copy of the most recent annual report may be obtained on request by writing to Poets & Writers, Inc. Please call or write for further information:
Poets & Writers, Inc., 90 Broad Street, Suite 2100, New York, NY 10004. (212) 226-3586. www.pw.org

In an effort to keep subscription rates as low as possible, Poets & Writers Magazine generates additional revenue by renting its subscriber list to reputable organizations. If you do not want
to receive mailings from these organizations, please call (386) 246-0106 or e-mail poets&[email protected]. A list of the organizations renting our mailing list can be
obtained by sending a written request to List Rental, Poets & Writers, Inc., 90 Broad Street, Suite 2100, New York, NY 10004.

This project is supported

in part by an award from
the National Endowment
for the Arts.

M A RCH A PR I L 2022 6
 FACULTY
FICTION Chris Bachelder • Venita Blackburn • Sarah Shun-lien
Bynum • Adrianne Harun • Vanessa Hua • Holly Goddard Jones
Katie Kitamura • Maurice Carlos Ruffin • Luis Alberto Urrea
Jess Walter POETRY Jericho Brown • Eduardo C. Corral
Tarfia Faizullah • Carl Phillips • Caki Wilkinson • Monica Youn
NONFICTION Alexander Chee • Lacy M. Johnson • Alex Marzano-
Lesnevich • Elena Passarello PLAYWRITING Nathan Alan Davis
Dan O’Brien • Liliana Padilla • Lauren Yee

Workshops in Fiction, Poetry, Nonfiction, VISITORS

and Playwriting EDITORS Abdul Ali • Anna Lena Phillips Bell • Millicent Bennett
Cortney Lamar Charleston • George David Clark • Leigh Anne
JULY 19– 31, 2022 Couch • Jessica Faust • Mary Flinn • Sally Kim • Rebecca Lindenberg
APPLICATION DEADLINE MARCH 15
Alane Salierno Mason • Becky Monds • Speer Morgan • Eric Smith
Thanks to the generosity of the Walter E. Dakin Memorial Fund, supported by
the estate of Tennessee Williams, every participant receives financial assistance. Liz Van Hoose • Adam Vines • Michael Wiegers • Ginny Smith Younce
Additional funding is awarded to fellows and scholars.
Felicia Zamora LITERARY AGENTS Jin Auh • Michelle Brower
THE UNIVERSITY OF THE SOUTH | SEWANEE , TENNESSEE
SEWANEEWRITERS.ORG | SWC@SEWANEE .EDU | 931. 598.1654 Sarah Burnes • Emily Forland • Erin Harris • Gail Hochman
Annie Hwang • Margaret Riley King • Anjali Singh • Renée Zuckerbrot
THEATER PROFESSIONALS Beth Blickers • Omalolu Fiki
Sean McIntyre • Naysan Mojgani • Elwood Reid • Emily Shain
Jesús I. Valles • Alexis Williams
 The
Heart of
Note
EDITOR’S

Memoir
Craft Essentials for
A SPACE WHERE YOUR WRITING CAN THRIVE

Memoirists L A S T Y E A R I F I NA LLY S TA RT ED A W R I T I NG PROJ EC T T H AT I

had been thinking about for a long while—if not now, when,
6 WEEKS. 6 EXPERTS. right?—and I’m pleased to say it’s going well, knock on wood. I’ve
reached the point where maybe I want to talk about it, but maybe not;
Line-up includes: it’s difficult to say. There must be a name for this period of cautious
optimism when a project is still in its nascent stage, a kind of fragile
embryonic form, and you’re afraid to talk about it for fear the whole
KIESE LAYMON, thing will disappear if exposed to daylight. This is where I find
author of Heavy myself: nurturing a fetal unicorn. An odd metaphor, sure, but oddly
ASHLEY C. FORD, appropriate. It exists, and yet...it doesn’t. It’s exciting, but at the same
time I know I could use some help, maybe a little encouragement.
author of Enter this issue’s theme. I had the inspiring experience of
Somebody’s Daughter witnessing firsthand the real value of—and the sincere need for—
writers groups during my time at the Kachemak Bay Writers’
JOSHUA MOHR,
Conference in Homer, Alaska, in 2018. I was giving a talk about
author of Model Citizen publishing to a room of about forty writers, and I got to the part
ANNA QU, where I discuss the role of one’s first readers, the benefits of feedback,
and the care with which we should all give and receive constructive
author of Made in China
criticism—in general, the importance of community, including the
kind that can be found in a writing program, at a conference, or,
6 Tuesdays, you guessed it, in a writers group. No sooner had I said those words
than a hand shot up in the back: “How can I find a writers group?”
April 5 – May 10 It was a great question, and fifteen minutes later I walked out into
3pm PT | 5pm CT | 6pm ET the hallway to find a large sheet of paper taped to the wall on which
local writers who were interested in forming writers groups—in
Led by Brooke Warner & Anchorage, in Fairbanks, in Wasilla, in Soldotna—had written their
Linda Joy Myers names and e-mail addresses. At week’s end I returned to Poets &
Writers with the image of that sign-up sheet in my mind and the
Early-bird registration: $249 seed of an idea to offer writers everywhere, outside of metropolitan
centers and academic networks, a way to find one another. Two years
WWW.MAGICOFMEMOIR.COM later, amid a pandemic that has made peer-to-peer connection even
more precious, I joined a small team of colleagues in launching
Poets & Writers Groups (pw.org/groups), a technologically
sophisticated version of that piece of paper on the wall in Homer.
No matter how you found—or will find—a writers group of your
own, this issue’s special section (page 45) provides an abundance of
advice, guidance, and ideas for how to approach that, dare I say, magi-
cal space of constructive criticism, conversation, encouragement,
and other indefinable, invaluable forms of support. Because no one
should have to raise a unicorn alone.

MARCH APRIL 2022 8

 Vienna, Austria
Take your writing to the next level, at home and abroad.

Pan-European MFA A vibrant community of writers and

award-winning faculty.

in Creative Writing Four genre concentrations, including

dual-genre options.
A low-residency program in three Craft-based, genre-specific writing
European cities: Dublin, Barcelona & Vienna workshops and seminars.

Apply now!
Scholarships available mfa.cedarcrest.edu
 Poets & Writers Magazine welcomes
feedback from its readers. Please post a
comment on select articles at pw.org,
e-mail [email protected], or write to Editor,

Reactions
Poets & Writers Magazine, 90 Broad Street,
Suite 2100, New York, NY 10004.
Letters accepted for publication may be
edited for clarity and length.

LETTERS that her mind could find connections in the world around
Feedback from readers us that many miss. She had an appreciation for the least
As a connoisseur of sentences I want to commend Dan of us and a wonderful sense of humor that made her
Beachy-Quick for having written, in his essay “Oxygen fiction sparkle. Her ability to lift up the most vulnerable,
in Ash” in the special section Writing Past Burnout in as she did in her story “My Jockey,” makes her work
your January/February 2022 issue, “[T]o breathe in unique. Thank you for sharing this perspective of her as
during that summer was to inhale particulates potentially a mentor and teacher.
toxic, and to breathe out was to exhale a virus potentially ALICE LANDRUM
fatal.” It’s a primo sentence, and he should feel justifiably Columbia, Missouri
proud for having uncorked it. The rest of the piece isn’t
bad either. “Dear Memory: On Creative Struggle, Stretching, and
JON KRAMPNER Asking for Help” (November/December 2021) by Victoria
Los Angeles, California Chang came at a perfect time. I’ve been slogging away at
the story of my dad’s life as a commercial fisherman for
longer than I’d like to admit. Like Chang, who interviewed
her mother, I interviewed my father, in our case seventeen
years ago. Up until then we had exchanged letters through
the years as we lived on different coasts, but in November
2004, we had many hours of long sit-downs. His razor-
sharp memory, along with immediate access to the most
arcane details about trawlers he’d fished on when he was
twenty-one, stunned me. A local newspaper published the
story at the end of that year. Dad died a month later. He
was 89. I’m at it again, digging deeper for information on
the different types of trawlers he fished on, from steam
to diesel, from dragger to side to stern. Scrivener proves
to be a useful organizational tool. The biggest obstacle
I encounter now is my regret at not having pursued an
MFA; at my weakest times I worry the book will not be
Just a note to say thank you for the Inspiration Issue good enough because I don’t have the craft needed. Chang
(January/February 2022) as I, too, attempt to write past writes, “No matter how hard I tried, I wasn’t going to be
burnout—amazing timing! My first book is coming out able to replicate the skill level of someone who had more
in May, and I am struggling to keep plugging away on my natural talent or had gone to art school.” Bingo. Chang’s
second. sharing about her success in publishing Dear Memory:
S Y LV I E B I G A R Letters on Writing, Silence, and Grief by using the skill
New York, New York level she possessed and by calling on the help of friends is
the best advice to keep this writer going, to let me be the
I enjoyed “Lucia Berlin: My Mentor in Being an writer I am rather the one I imagine I could have been, and
Outsider” (November/December 2021). Jenny Shank to let this book be what it is, the story of a man’s life on the
paints a portrait of a generous writer who treats her sea and how that life affected me.
students with respect and who values their contributions. HELEN O’NEIL
I read some of Berlin’s stories years ago and knew at once Charlestown, Massachusetts

11 POETS & WRITERS

 Trends
NEWS A ND

The Lampblack Model another ioby fundraiser with a goal of

$30,000 and, as of this writing, has raised
just over $15,000.

I
n 2020, as both the pandemic and a random selection process, guided by These funds are helping Lampblack
social uprisings swept across the the idea that such direct aid will advance pursue its 2022 goals: Distribute $10,000
United States and beyond, twenty- Black literature itself. Writers who aren’t to Black writers, publish Black writers
one Black writers—mostly alumni of chosen for the week are reentered for the in Lampblack, expand community pro-
the MFA program at Rutgers University next week. The funds have no restric- gramming, and hire three part-time
in Newark—came together to consider tions and aim to act as an antidote to employees to run social media, disburse
how they could best support one an- institutional grants that “come too late funds, communicate with aid applicants,
other, creatively and otherwise. Initially and often exploit our labor,” the website and lead its virtual reading series, Lit
they gathered as a virtual reading group states. Writers who are eighteen years of Lantern.
but as time passed they brainstormed age or older and live in the United States While Lampblack issued some con-
how to reach Black writers outside of are eligble. tract payments in 2021, the part-time
their immediate network. Their answer: “One of the primary goals in found- positions will allow the organization to
Lampblack, a nonhierarchical commu- ing Lampblack was about the very real give three individuals a steady source of
nity organization that, among its pro- material needs of Black writers that I income. “We want to pay all Black writ-
grams, offers direct aid to Black writers think are often glossed over when we ers,” Marsalis says, noting that the abil-
and publishes a magazine for “voices discuss literary lives and literary ca- ity to volunteer is a privilege. “Some of
from the Black diaspora.” According to reers and community,” says writer and us work full-time jobs; some of us work
its mission statement Lampblack “pro- translator Paige Aniyah Morris, who part-time jobs. We’re in various levels of
vides monetary relief for Black writers helps edit Lampblack, the organization’s employment, so need is more serious for
and strives to expand the reach of their magazine. “We wanted to find a way to some of us than it is for others.”
work because critical engagement with directly support Black writers without The organization’s annual print mag-
Black culture is a necessary and radical that structural gatekeeping. You don’t azine, Lampblack, offers another avenue
act.” have to be a winner of a fellowship. You for the group to celebrate Black writ-
The organization began its public- don’t have to be in an MFA program.” ing and further their reach. The team
facing work in earnest in April 2021 Lampblack initially committed to dis- launched the first issue, the Founders’
thanks in part to an anonymous pledge pensing funds through the end of 2021— Issue, at the Center for Fiction in New
of $2,500. Via word of mouth, writers between April and December, thirty York City in October. Eleven founders
outside the Rutgers community learned writers received aid—but always oper- contributed nonfiction, fiction, poetry,
about Lampblack’s efforts and joined to ated with the goal to extend the program and translation to the volume, and 30
help in whatever way they could. “There into future years. In April, Lampblack percent of the proceeds went to the di-
was a lot of energy around trying to fig- launched a public fundraiser through rect aid program. Future issues will wel-
ure out what writers were dealing with the platform ioby, which specializes in come submissions from all Black writers.
at that moment and what kind of aid we community-focused projects. By the end Morris describes the editorial ethos of
could provide,” says Simeon Marsalis, a of July, backed with the initial $2,500 the magazine as “a different approach to
founder and executive board member. pledge and with the help of a matching reading Black literature—not so much in
The volunteer team started to give $100 donation program, the team met their the siloed fashion we’ve often seen where
to one Black writer each week, using a goal to raise $10,000. Most recently, there’s the one representative Black
brief, non-merit-based application and in November 2021, the team launched writer in an issue of a literary journal or

M A RCH A PR I L 2022 12
 CONTR IBUTORS

the same few Black writers who we’ve to expand and be about our diaspora, A R R I E L V I N S O N is a
been celebrating…. We want to make be about our Blackness. And to do that Reese’s Book Club LitUp
it less of a tokenization of Black writing we’ve had to embrace, and want to em- Fellow who writes about
and more of a celebration.” brace, an online space.” being young, Black, and
Alongside its direct aid program and Launching and maintaining these in search of freedom. Her
journal, Lampblack is also reaching out ambitious programs has been no easy writing has appeared in Kweli,
to a wider community via public events. feat, but the team stays organized via Catapult, the Rumpus, and
Last year, in addition to the reading se- virtual meetings and Google Docs. other publications.
ries Lit Lantern—which ran from April Marsalis says they are also in the process
to October—the organization held a of applying for 501(c)(3) status and look R A C H E L Z A R R O W is
summer workshop series. In 2022, Lit forward to becoming eligible for grants a writer based in San
Lantern is back along with other origi- limited to registered nonprofits. Francisco. Her writing has
nal programming, including an in- I n t he meant ime, Lampblack’s appeared in the Atlantic,
person event with Source of Knowledge members want to expand the commu- Electric Literature, and
in Newark, New Jersey, and a virtual in- nity and welcome anyone who wants the San Francisco Chronicle,
terview series called the Inky Bulb led by to be involved. “There’s a place for all among other publications.
poet Attorious Renee Augustin. types of engagement,” says Morris. “It
“Coronavirus has made us embrace doesn’t have to be that everyone has to M E G A N F E R N A N D E S is
an online community,” Marsalis says. volunteer their labor or donate money. a writer living in New York
“Paige is in South Korea right now, Take part however you see fit. If you City. Her most recent book
Bronwyn [Douman, a board member] want there to be a place for you, there of poetry, Good Boys, was
is in South Africa. We really are trying is a place for you.” –ARRIEL VINSON published by Tin House in
2020. She teaches at Lafayette
College.

D A N A I S O K A W A is a writer
and editor living in New York
City. She is the managing
editor of the Margins and a
contributing editor of Poets &
Writers Magazine.

L A U R A D A ’ is an Eastern
Shawnee poet and teacher.
She is the author of
Tributaries, winner of the
American Book Award,
sandia ashley

and Instruments of the True

Eight of Lampblack’s founding members. Back row, from left: Simeon Marsalis, Measure, winner of the
Zeus Sumra, Darise JeanBaptiste, Cole Cage, Thierry Kehou, and Zack Graham. Washington State Book
Front row, from left: Cheswayo Mphanza and James Bennett II. Award.

13 POETS & W R ITERS

 TRENDS

Giving Translators Their Due

T
hough translator work. In September, Croft published
Jennifer Croft and Pol- an op-ed in the Guardian titled “Why
ish author Olga Tokar- translators should be named on book
czuk shared the 2018 covers,” in which she argued that
Ma n Booker I nter- despite recent improvements in the
national Prize—now treatment of translators—since 2016,
known as the International Booker for instance, the prize money for the
Prize—for the novel Flights, Croft’s International Booker has been evenly
name was not on the cover of the U.K. split between the author and the trans-
edition, published by Fitzcarraldo, nor lator—there is still much to be done to
the American edition from Riverhead. ensure that translators are fairly com-
Such an omission was and is not un- pensated and recognized. As the indus-
common in the world of literary trans- try begins to grapple with how to better
lation, but the practice has recently support translators at all stages of the
come under scrutiny as a symptom of publishing process, the appeal to put
broader undervaluation of translators’ translators’ names on book covers has

“Diego—you dead man—I write to you.” Desgraciado (the

Page
One
collected letters) (Nightboat Books, February 2022) by Angel
Dominguez. Third book, first poetry collection. Agent: None.
Editor: Andrea Abi-Karam. Publicist: Caelan Ernest Nardone.
XX
Where New
“1. the déjà vu is not not a strip club in ypsilanti.” the déjà vu:
And Noteworthy
Books Begin black dreams & black time (Coffee House Press, February 2022)
by Gabrielle Civil. Third book, nonfiction. Agent: None. Editor:
Anitra Budd. Publicist: Daley Farr.
XX
“The pool is located deep underground, in a large cavernous chamber many feet beneath
the streets of our town.” The Swimmers (Knopf, February 2022) by Julie Otsuka. Third
book, novel. Agent: Nicole Aragi. Editor: Jordan Pavlin. Publicists: Amy Hagedorn and
Josefine Kals.
XX
“After God created the heavens and the earth, he stood back to contemplate creation, like
a painter standing back from the canvas.” Pure Colour (Farrar, Straus and Giroux, Febru-
ary 2022) by Sheila Heti. Fifth book, fourth novel. Agent: Jim Rutman. Editor: Mitzi Angel.
Publicist: Sarita Varma.
XX
“The monument lives inside the body.” Dream of the Divided Field (One World,
March 2022) by Yanyi. Second book, poetry collection. Agent: Rebecca Nagel. Editor: Nicole
Counts. Publicist: Carla Bruce.
XX
“The jogger, the first person to see the peak of the volcano sprouting from the middle of the
reservoir in Central Park, in the early hours of June 2, thought the volcano was a breaching
humpback whale.” My Volcano (Two Dollar Radio, March 2022) by John Elizabeth Stintzi.
Third book, second novel. Agent: Stephanie Sinclair. Editor: Eric Obenauf. Publicist: Eliza
Jane Wood-Obenauf.
XX
“I don’t remember 2005, but I have the medical records.” Cost of Living (Henry Holt, Feb-
ruary 2022) by Emily Maloney. First book, essay collection. Agent: Matt McGowan. Editor:
James Melia. Publicists: Marian Brown and Sarah Fitts.

M A RCH A PR I L 2022 14
 TRENDS

become an early rallying cry. had immediate effect: Less than two
Fol low i n g t he p u b l ic at io n of weeks after it was posted, Pan Macmil-
Croft’s essay, author Mark Haddon lan U.K. announced that it was “fully
approached Croft about writing an supportive” of the movement and was
open letter that called on publishers happy to add translators’ names to all
to name translators on covers. The its covers going forward.
letter, published last year on Septem- But for other publishers, what’s the
ber 30 —International Translation sticking point? Many of the editors,
Day—has since garnered over 2,500 translators, and agents interviewed for
signatures from writers worldwide this story referenced a long-held belief
including Bernardine Evaristo, Katie in the publishing industry that books
Kitamura, R. O. Kwon, Jhumpa La- with translators’ names on the covers
hiri, and Olga Tokarczuk. The signa- sell fewer copies than those without the
tories pledge to ask “in our contracts names of translators, but no one knew of
and communications, that our publish- a concrete, data-driven example to sup-
ers ensure, whenever our work is trans- port the claim. According to Jonathan
lated, that the name of the translator Galassi of Farrar, Straus and Giroux, for
appears on the front cover.” The letter years “it was a selling truism that it was

“All lions must lean into something other than a roar: / James Baldwin, for instance,
singing Precious Lord, / His voice as weary as water broken over his scalp / In a store-
front Sanctified Church’s baptismal pool / All those years ago when he wanted to be /
Somebody’s child and on fire in that being.” Best Barbarian (Norton, March 2022) by
Roger Reeves. Second book, poetry collection. Agent: None. Editor: Jill Bialosky. Publi-
cist: Gina Savoy.
XX
“If you want to change the past, all you have to do is try to record what happened in it.”
Uncommon Measure: A Journey Through Music, Performance, and the Science of Time
(Bellevue Literary Press, March 2022) by Natalie Hodges. First book, nonfiction. Agent:
None. Editor: Erika Goldman. Publicist: Molly Mikolowski.
XX
“Black skin in the forsaken outback / of the world / both concrete and jungle / in varying
states of decomposition / and men in a corner / ordering girls to smile / stiff with rigor
mortis / all bones no flesh” Broken Halves of a Milky Sun (Astra House, February 2022) by
Aaiún Nin. First book, poetry collection. Agent: Szilvia Molnar. Editor: Alessandra Bastagli.
Publicists: Rachael Small and Jeremy Wang-Iverson.
XX
“After the second night Conchita witnessed Moisés flying in his backyard under the moon-
light, and after the first night they shared her bed (which happened to be the second night
she witnessed him flying in his backyard under the moonlight), she realized that no one,
not even her sister Julieta, could learn of her new novio’s extraordinary talent.” How to
Date a Flying Mexican: New and Collected Stories (University of Nevada Press, February
2022) by Daniel A. Olivas. Ninth book, fifth story collection. Agent: None. Editor: Margaret
Dalrymple. Publicist: Caddie Dufurrena.
XX
“Once swallowed, the piece of paper lodges in her esophagus, near her heart.” The Books
of Jacob (Riverhead Books, February 2022) by Olga Tokarczuk, translated from the Polish by
Jennifer Croft. Fourteenth of sixteen books, eighth novel. Agent: Laurence Laluyaux. Editor:
Rebecca Saletan. Publicists: May-Zhee Lim and Claire McGinnis.
XX
For author readings from books featured in Page One: Where New and Noteworthy Books
Begin, visit us at pw.org.

15 POETS & W R ITERS

 TRENDS

harder to sell a book that had a transla- English, notes that in the United
tor on the cover—like it was another States and U.K., “literary translators
level of separation between writer and identify overwhelmingly…as white,
reader.” But he notes that “thinking has and yet they are often single-handedly
evolved about this over time, and you representing the rest of the world. I’d
will find that translators’ names, hap- prefer to see more acknowledgement
pily, are going to appear more and more of translation and colonial history,
now.” Indeed, for some publishers— colonial subjects, and translators in
including independent houses like formerly colonized countries.” To
Catapult, Unnamed Press, Archipelago, shift the demographics of the indus-
and Transit Books—a cover credit for try, Kim stresses the need to create
the translator is standard practice. more opportunities for translators of
When asked about the movement to color, translators of minority (usu-
include translators’ names on covers, ally non-European) languages, and
Johanna Lindborg, a literary agent translators who are heritage speakers.
at Bonnier Rights, an agency based Kim adds that early language educa-
in Sweden that represents Nordic- tion matters, and she points to the
language authors and sells transla- work of the U.K.-based organization
tion, film, and television rights inter- Shadow Heroes, which offers creative
nationally, says that Bonnier Rights translation workshops and bills itself as
“understand[s] and support[s] the de- “an education initiative that supports
cision to print the translators’ names young people in embracing all sides of
on the cover in some cases, if it is ad- their linguistic and cultural heritages.”
vantageous in the promotion of the Meanwhile, Croft expresses hope that
book.” Lindborg continues: “On the the inclusion of translators’ names on
other hand, in some instances and for covers will call attention to these dis-
some genres, advertising that the book parities, adding that “by erasing the
is a translation may not be in the best identity of the translator, the indus-
interest of sales or marketing, so in try allows for systemic discrimination
those cases the translators’ names are against translators of color.”
perhaps best placed within the book. Though the normalization of includ-
This is more often for the more com- ing translators’ names on the covers of
mercial end of the spectrum.” books is important, it is only one of
The debate over crediting transla- many issues facing translators. Susan
tors on book covers can create a poten- Harris, the editorial director of Words
tial schism between authors and their Without Borders, an online magazine for
agents and/or publishers, a schism in international literature that credits and
which, as poet and translator Wayne compensates both writers and transla-
Miller puts it, the “capitalist and mor- tors equally, notes: “There are other
alist impulse” are opposed—even if issues—royalties, rates, copyrights—
they might not need to be. But re- that need attention, and we hope to see
gardless of the truth about profits, those addressed as well.”
the moral stakes are about more than To create more equity for transla-
individual recognition. Croft points tors, authors must be effective allies
out that “to conceal that a book is a and learn what translators need and
translation is to pretend that all things desire. Translator Geoffrey Brock,
originate in English [which is] disre- a signatory of the open letter, says
spectful to the author, their culture, t hat, wh ile he k nows publ ishers’
and their language” and “perpetuates margins can be thin, he would like
a false sense of Anglophone exclusivity to see “higher per-word rates, espe-
that does damage to all involved.” cially for more difficult books, and a
Racial disparities are also preva- small royalty, one that should come
lent in the field of translation. Esther out of the author’s cut rather than the
Kim, a translator from Korean into publisher’s.” He sees translators as

M A RCH A PR I L 2022 16
 TRENDS

coauthors and suggests, “Instead of especially debut authors, may feel hesi-
the original author getting 10 percent tant to advocate for specific clauses that IN MEMORIAM
and the translator getting zero, do an support translators in their contracts.
8/2 split.” Even translators themselves may hesi- Eve Babitz
Of course writers may not be posi- tate to advocate for industry changes Marie-Claire Blais
tioned to advocate for these changes. out of a fear of backlash, and, nota- Charlie Conrad
Sarah Rose, the author of two books bly, they do not typically have agents Humphrey Davies
of narrative nonfiction originally to negotiate on their behalf. But if a Joan Didion
published in English, notes that in critical mass of writers and translators Uschi Gatward
her experience with publishing, the begin to take a stand, these conversa- Noah Gordon
decision-making around crediting tions will become easier. As Esther Almudena Grandes
translators was “completely opaque.” Allen, a translator from Spanish and Yusef Harris
Throughout the publication process for French into English, puts it, “What bell hooks
her nonfiction book For All the Tea in has to happen is the establishment of Keri Hulme
China: Espionage, Empire and the Secret the translator’s name on the cover as F. Sionil Jose
Formula for the World’s Favourite Drink a norm, one that publishers would be Yoko Kawashima Watkins
(Hutchinson, 2009), which has been embarrassed to deviate from.” Thomas Kinsella
translated into at least four languages, Olivia Taylor Smith, executive edi- Libby Manthey
she was never in touch with a translator. tor of Unnamed Press, contends that Ben McFall
Rose supports “the idea of everybody the stakes are high, pointing out that Iraj Pezeshkzad
getting credit who deserves it,” yet she omitting translators’ names from cov- Eric Priestly
notes that selling world rights to a book ers “only serves to further the erasure Anne Rice
often divorces the author of the original of the labor involved in publishing— Jakucho Setouchi
text from future translations, which are f rom t he editors and t ranslators, Peter Shepherd
at the publisher’s discretion. copy editors, product ion manag- Greg Tate
In an era when the consolidation of ers, publicists, sales reps, printers, Terry Teachout
publishing houses has restricted op- warehouse workers, booksellers, and Charles “Chuck” Verrill
portunities for writers and the pros- on—which in turn makes it easier to
pect of making a living income from increasingly discount the cost of the
book publishing is slim, aut hors, book.” –RACHEL ZARROW

Puerto Rican Writers in the Spotlight

I
n November the Andrew W. Mellon will be invited to a gathering in San
Foundation and the Flamboyan Juan in 2023 to meet one another and
Fou ndat ion’s A r t s Fu nd a n- connect with a second cohort for which
nounced the inaugural recipients applications will open later this year.
of the Letras Boricuas Fellow- Writers must have published a book or
ships, a new award for Puerto three pieces in literary journals in the
Rican writers living either on the island past five years, with the exception of
or within the U.S. diaspora. Seven fel- spoken word poets, who may submit
lowships were awarded for poetry, eight three links to videos of performances
for fiction, four for creative nonfiction, at public events.
and one for children’s literature; each The inaugural fellows are diverse
fellow received an unrestricted grant in their backgrounds, aesthetics, and
of $25,000. In a press release Mellon sociopolitical commitments. Fellow
president Elizabeth Alexander char- Xavier Valcárcel, a creative nonfiction
acterized the group as showcasing the writer and poet who was born in San
“depth and breadth of Puerto Rico’s Juan and grew up in Loíza, emphasizes
stories and histories across literary that Puerto Rican literature has long
genres and a range of styles.” In addi- flourished because of the labor of non-
tion to receiving funding, the fellows institutional writer communities. He

17 POETS & W R ITERS

 TRENDS

says Puerto Rican literature “survives, “I could not stop being amazed then
is known, and shines thanks to the by the different ways in which we all
tireless effort of self-management by felt about, defined, and interacted with
writers who are also editors, school and the sense and the idea of being Puerto
university professors, librarians, book- Rican. I still am.” After returning to
sellers, and book distributors—and not the island in 2001 with her then eight-
thanks to the State or institutions,” year-old son, Marín joined a workshop
and he believes that the fellowship is at the Librería Mágica in the Río Pie-
a sign of support and recognition for dras neighborhood of San Juan called
this work that has already been done. “Taller para sobrevivientes” (Work-
Valcárcel describes his creative growth shop for Survivors) and later took po-
as linked to the “violence and beauty etry workshops in the living room of
of an archipelago that does not rest or Mairym Cruz-Bernal, where she found
end” and says his writing reflects many a community of writers who allowed
confluent identities: “the ‘queer,’ the her to “feel alive again.” In her work
Puerto Rican experience, the trapped she seeks to explore “the ways in which
against the sea, the broken, the dreams regular people (mostly women) deal
of the possible and the impossible, with the everyday challenges of living
from a voice that is not just one but on this island,” without ever reducing
multiple voices at the same time.” Puerto Rico to a tale of resilience—a
Carmen R. Marín, a fellow in po- word she says is used to “disregard, with
etry, left Puerto Rico after university a condescending smile, the deep social,
to move to New York and said that economic, political, and psychologi-
meeting Puerto Rican writers of the di- cal problems that we have to endure.”
aspora gave her a sense of the immense The resilience of a people should not
diversit y of Puerto Rican identit y. Continued on page 20

Small Press Points

Last year was a period of transition for Bitter Oleander Press
(bitteroleander.com), an independent publisher in Fayetteville, New York. After
twenty-seven years of publication of the press’s celebrated biannual journal, the Bitter
Oleander, editor and publisher Paul B. Roth sent the journal’s final issue to the printer
in the fall and prepared to focus on Bitter Oleander’s books program. In this new phase
the press will publish almost exclusively poetry in translation and is holding a no-fee
open reading period through the end of March, expressing particular
interest in manuscripts by “contemporary international poets whose
work is either still unknown to an English-speaking audience or has
hardly been published in translation.” It is an interest that is near and
dear to Roth’s mission as a publisher, having consistently championed
literature in translation through the press’s books and journal since its
founding in 1974. “As an editor I’ve always wanted to present how our
distinctive likenesses as humans mirror each other through the complexities of different
languages,” says Roth. The press publishes four to six books of poetry a year—typically
“deep-image poetry, serious poetry, that doesn’t necessarily fall under the influence of
any particular school or follow any formalized pattern of style.” Titles to be released in
2022 include a bilingual edition of Franca Mancinelli’s The Butterfly Cemetery: Selected
Prose (2008–2021), translated from the Italian by John Taylor, and Andrea Moorhead’s
Tracing the Distance, an English-language collection that won the 2021 Bitter Oleander
Press Library of Poetry Award. To prospective Bitter Oleander authors and translators,
Roth offers an invitation: “We’d like to consider more imaginative texts from translators
whose poets take chances, who open doors that have previously had no keys.”

M A RCH A PR I L 2022 18
 Literary MagNet

“I see these stories as quiet rebellions, flawed protests,”

says Sara Lippmann about Jerks (Mason Jar Press, March 2022), her second story collection. The characters
in Jerks search for a release from the confines of modern life—the demands of motherhood, the waning of
desire in marriage, the perils of environmental destruction, the awkwardness of youth, and the disconnect
between our social and private selves. Visceral and rich with sensory detail, the stories swerve from humorous
to cutting to irreverent. As for publishing, Lippmann—who placed all eighteen stories in magazines—says,
“All the journals I’ve been lucky enough to publish with celebrate nervy writing.” She adds, “The older I get
the less patience I have for safe, competent, well-crafted fiction. I’m interested in the messy.”

Lippmann also looks for journals that piece, Lippmann—who praises the review’s
prioritize making their content free to beautiful print issues and celebration of
read, respond to submissions in a timely “singular voices like W. Todd Kaneko and
fashion, support their contributors beyond Anne Valente”—wrote “Runner’s Paradise,”
publication, and prize voice in writing. “I a story she says “goes all in with the surreal,
apply the same litmus test to journals as with a sharp turn into a [Hieronymus] Bosch–
I do my own stories,” she says. “What are like joggers’ bacchanal.” Heavy Feather
they imparting to the reader? Where does Review publishes poetry, fiction, nonfiction, and art online as
the risk lie? How much skin is in the game?” These criteria led well as in a print annual that also appears online. Online themed
her to storySouth (storysouth.com), an online biannual that has columns include Flavor Town USA, Bad Survivalist, and Haunted
published poetry, fiction, nonfiction, interviews, and reviews by Passages. Submissions for the review’s website are currently open.
“writers from the new South” since 2001. Drawn to their track ◆◆ Lippmann often finds magazines to
record of championing risk-taking work by writers such as Tyrese submit to via the online journal Wigleaf,
L. Coleman and Kyle Coma-Thompson, Lippmann sent storySouth which releases an annual Top 50 Very Short
a piece about breastfeeding, infidelity, and loneliness in marriage Fictions list featuring flash published in
(“probably the squirmiest and most graphic story I’d ever written” various other journals during the previous
she says), which the journal ran in 2016. Since then Lippmann notes year. Reading the 2017 selections, she was
the editors continue to support her via retweets and their blog. astounded by Justin Reed’s story “Icarus
Submissions in all genres open on June 15. ◆◆ “One of the most Is a Black Man,” which originally appeared
generous, menschy publications I’ve ever in Gone Lawn (gonelawn.net), an online
had the privilege of working with,” says quarterly of poetry, fiction, and art. She submitted her story
Lippmann of Split Lip Magazine (splitlip “Neighbors” to Gone Lawn, which published it in 2019; the story
themag.com), which, like storySouth, in turn was selected for Wigleaf ’s 2020 list. Gone Lawn’s editors
regularly celebrates its contributors’ write that they want “sincere, well-written, imaginative, unusual,
accomplishments via social media and and/or innovative works that charm and displace us.” Submissions
“Fam roundup” posts on its website. Split are open year-round. ◆◆ The online magazine Midnight Breakfast
Lip features poetry, flash fiction, short (midnightbreakfast.com) aims to re-create the feeling of “late-night
fiction, nonfiction, reviews, and art through a print annual and an talks with friends over greasy food” with fiction, essays, cultural
online monthly. The editors write they are “totally bonkers-in-love criticism, and interviews that are both serious and playful. Since
with voice-driven writing, pop culture, and the kind of honesty that its inception in 2014, the journal
gets you right in the kidneys.” Lippmann delivered on voice-driven has published nineteen issues.
writing with “Har-Tru,” a story featuring an earnest young tennis “Visually I just love their look…
instructor, a pack of chatty mothers obsessed with a TV show about and how they only publish a
polyamory, and a self-aware, wry narrator; Split Lip published it in handful of pieces each issue, so
2018. Submissions are open year-round except for during July and you can settle in and spend time
the last two weeks of December. ◆◆ Lippmann wrote many stories with each of them,” Lippmann says. Her story “Let all the Restless
−
in Jerks in response to invitations from editors. “Solicitations light Creatures Go” appeared alongside works by T Kira Mahealani
tamar a plener

a fire under me,” she says. “I love a good deadline. And limits. As Madden and Bryan Washington in Midnight Breakfast’s thirteenth
a flash junkie I also believe we often can really startle ourselves issue; Lippmann describes it as a story about “conservation and
from within confines.” After Jason Teal, the editor in chief of Heavy shitty humanity and perseverance (and turtles! And the Jersey
Feather Review (heavyfeatherreview.org), approached her for a Shore!).” Journal submissions are currently closed. –DANA ISOKAWA

19 POETS & W R ITERS

 TRENDS

Continued from page 18 fellowship: the companionship, the

be romanticized, says Marín, but it is sense of feeling in company of equals
something “to be noted.” and friends.”
Looking ahead, both Marín and As the fellows connect with the
Valcárcel ment ion t hat t he f unds new and familiar faces in their cohort,
from the fellowship will enable them the Letras Boricuas program simul-
to devote more time to their writing taneously offers the long-overdue
and, critically, Valcárcel notes, “rest opportunity for a wider American pub-
for a moment.” He continues: “Being lic to come to know and read an already
an independent artist in a colony in flourishing and diverse literary com-
crisis is very taxing. And even more munity of Puerto Rican writers. These
when one does not want to stop creat- writers have grown through their
ing or fighting for what is fair.” Both own networks, mythologies, and self-
writers also look forward to the gath- determined narratives while carrying
ering in 2023. As Marín puts it: “The the island’s history of colonization,
fellowship has stressed, for me, one of military occupation, and U.S.-induced
the most beautiful senses of the word economic crisis. –MEGAN FERNANDES

◆ ◆◆

THE WRITTEN IMAGE ◆◆ This past fall the interdisciplinary designer Christine Rhee poked
fun at the gendered marketing of books by devising two lines of covers, “Fake Books for
Men” and “Fake Books for Women,” and posting them to Instagram (@monobrow_ny). Her
satirical redesigns of both classic and contemporary books call attention to how color and
imagery are used to position a book for its presumed audience—and prompt publishers,
writers, and readers alike to consider their biases and expectations when it comes to book
jackets. Some of Rhee’s redesigns are dramatically and comically distinct from their real-life
counterparts, while in others she riffs more subtly on the original design. In her reimagin-
ing of Ottessa Moshfegh’s wry novel My Year of Rest and Relaxation, for instance, Rhee
swaps out a neoclassical portrait of a lady for another such painting—one that features a
bare-chested Socrates. The witty simplicity of the design is characteristic of the series as
a whole: “I set them up to be completed quickly because I think, for this type of project,
it’s better to keep it fast and fresh,” she says. Rhee also notes that while the conceit of the
series was satirical, she approached the project with a sincere appreciation for the books
she redesigned and for literature in general. “Books are the most optimistic of objects,”
she says. “There is probably something that I haven’t read yet sitting in my bookshelf that
christine rhee

will change how I see the world.” In addition to “Fake Books for Men” and “Fake Books
for Women,” Rhee’s Instagram feed is a treasure trove of other clever designs. For another
literary-inspired series, Rhee selected eclectic titles, including Miss Piggy’s Guide to Life, to
remake in the classic aesthetic of New York Review Books.

M A RCH A PR I L 2022 20
 TRENDS

Q&A

David Treuer of Pantheon

David Treuer is a writer and teacher who methodology. Do you think you will bring and the path of being a writer itself.
radiates curiosity on and off the page. a similar movement to publishing? That is something I am here for. And
The author of seven books, he grounds I a m f u nda ment a l ly skept ica l of Pantheon is, I think, a wonderful place
the reader with precise intelligence and the way the whole idea of “Native to engage in that work and nurture a
generous humanity in both his fiction methodology” is used as a way to push new generation of writers.
and nonfiction. His most recent book, back against the canon. I’m skepti-
The Heartbeat of Wounded Knee: Native cal, I think, because our insistence on What are you looking forward to in your
America From 1890 to the Present (River- our difference—cultural, linguistic, own writing practice?
head Books, 2019), was shortlisted for social—oftentimes encourages us to I’m forging ahead on bot h a new
the National Book Award and longlisted engage in a kind of self-essentialization. book of nonfiction and another novel.
for the Andrew Carnegie Medal for Ex- And I’m not here for that either! A bit early to say much about either
cellence. He is now also bringing his of them, but I am invigorated by the
talents to the other side of the publish- For many Indigenous writers, working work ahead of me. I think, generally,
ing equation: In November 2021 he was with a fellow Indigenous person in the that the role of the writer and the role
appointed an editor-at-large at Pantheon, world of publishing is a revelation. Stuck of the editor—while different in many
where he intends to focus on acquiring between the essentialization you mention ways—both involve making meaning.
books by emerging and Indigenous writ- and callow patterns of institutional rac- And I’m excited, doubly, to keep on
ers. Just before the New Year, he spoke ism, so many writers are burdened with making it. –LAURA DA’
about his ambitions as an editor and for protecting their story.
the future of Native literature. What possibilities do
you think your role as
In your book The Heartbeat of Wounded an editor will unlock
Knee you have an insightful statement for readers and writers?
about intent: “This book is meant to tell Hop ef u l ly end le s s
the story of Indian lives, and Indian histo- ones! I think it’s in-
ries, in such a way as to render those his- dicative of a kind of
tories and those lives as something much monolithic structural
more, much greater and grander, than a exclusion of Native
catalog of pain.” Do you see this call to ex- people and voices that
pansiveness as a liberation of Indigenous I ne ver onc e — not
story from prescribed narrative patterns? f rom g r ade school
I absolutely see my work as a call through grad school—
to liberate Native literature—and had a single Native
self-regard and even our collective teacher in any subject.
identity—from overreliance on tragic I have had plenty of
narratives. Tragedy is the dominant tribal mentors in other
narrative that has been used to imagine parts of my life that
Native realities. And frankly the narra- have not hing to do
tive of loss—the idea that we as Native with writing, and I’ve
people have a great future behind us— had mentors—mostly
participates in our continued erasure. women and very often
I’m not here for that. women of color—in
my writing life. They
Your work is influential in creating a path- were teachers, editors,
way for Indigenous scholars and writers and allies. But as an
to approach research from a culturally editor I hope to begin
nisreen breik

responsive position. Sometimes folks to change not only the

talk about this as the work of decoloniz- narrative, but also the
ing the canon and embracing Indigenous gates to publishing

21 POETS & W R ITERS

NYU CREATIVE WRITING PROGRAM
Poetry, Fiction, and Nonfiction

WRITE IN NEW YORK

M.F.A. Degree in Creative Writing
For over thirty years, NYU has distinguished itself as a national center for the
study of writing and literature. The Creative Writing Program enables students
to develop their craft while working closely with some of today’s most
distinguished writers of poetry and prose. All incoming graduate students
receive fellowship support and the opportunity to teach. Join a serious
community of writers and engage in an exceptional program of study.
Faculty: Catherine Barnett, Kiran Desai, Alex Dimitrov, Nathan Englander,
Jeffrey Eugenides, Jonathan Safran Foer, John Freeman, Kimiko Hahn, Terrance
Hayes, Marie Helene-Bertino, Uzodinma Iweala, Major Jackson, Katie Kitamura,
Hari Kunzru, Nick Laird, Robin Coste Lewis, David Lipsky, Nadifa Mohamed,
Leigh Newman, Joyce Carol Oates, Sharon Olds, Meghan O’Rourke, Julie
Orringer, Jana Prikryl, Claudia Rankine, Matthew Rohrer, Parul Sehgal, Zadie
Smith, Darin Strauss, Brandon Taylor, Hannah Tinti, Ocean Vuong, Phillip B.
Williams, Deborah Landau (Director)

WRITE IN PARIS
Low-Residency M.F.A. Writers Workshop in Paris
The M.F.A. Writers Workshop in Paris invites students to work under the
guidance of internationally acclaimed faculty in one of the world’s most
inspiring cities. Paris—with its rich literary history and cultural attractions—
provides an ideal setting for living the writer’s life. The program offers both
freedom and rigor, balancing intense and stimulating ten-day residencies with
sustained independent work in the intervals between.
Faculty: Catherine Barnett, Ken Chen, Nathan Englander, Jonathan Safran
Foer, John Freeman, Ishion Hutchinson, Uzodinma Iweala, Katie Kitamura,
Hari Kunzru, Nick Laird, Robin Coste Lewis, Leigh Newman, Meghan O’Rourke,
Matthew Rohrer, Nicole Sealey, Zadie Smith, Darin Strauss, Brandon Taylor,
Matthew Thomas, Deborah Landau (Director)
Visiting Writers Include: Anne Carson, Rachel Cusk, Edwidge Danticat, Lydia
Davis, Melissa Febos, Terrance Hayes, Donika Kelly, Karl Ove Knausgaard,
Rachel Kushner, Raven Leilani, Ben Lerner, Valeria Luiselli, David Mitchell,
Maggie Nelson, ZZ Packer, Claudia Rankine, Taiye Selasi, Kamila Shamsie,
Brenda Shaughnessy, Leila Slimani, Tracy K. Smith, Ocean Vuong, Kevin Young

SUMMER PROGRAMS IN NEW YORK, PARIS, AND FLORENCE

Four-week summer intensives offer undergraduate writers of poetry, fiction, and nonfiction
an opportunity to live and write in Greenwich Village, Paris, or Florence.

For more information visit

as.nyu.edu/cwp
 the literary life

TheTimeIsNow Writing Prompts and Exercises

Poetry: Origins
“My materialist mind, I can’t / shake it,” writes Solmaz Sharif in her poem
“Now What” from her second collection, Customs, published in March by
Graywolf Press. The speaker of the poem sits in a hotel in Ohio eating takeout
and meditating on the origins of the meal, tracing connections back into
history and the people whose hands made this food possible: “Within a perfect
/ little tub of garlic / butter // a relief of workers, of sickles / fields of soy.”
Write a poem that meditates on the origins of a favorite condiment, seasoning,
or meal. Try to establish a time and place in the poem by beginning in the
present, then leap into the anecdotal or historical stories that come to you.

Fiction: Dead Letters

Angel Dominguez’s Desgraciado (the collected letters), published in February by
Suggested Reading: Nightboat Books, comprises a series of letters addressed to Diego de Landa, a
Refuse to Be Done: How to Spanish friar who attempted to destroy the written Mayan language in Maní
Write and Rewrite a Novel in Yucatán in the sixteenth century. This hybrid epistolary collection navigates
Three Drafts (Soho Press,
March 2021) by Matt Bell the shared trauma and history of colonization while creating an intimate
correspondence that returns agency to the descendant of a people de Landa
On the heels of his acclaimed tried to extinguish. “Dear Diego, I write to you because there’s nothing else to
novel Appleseed, published in
July 2021 by Custom House
do; nothing to be done, and yet we must go on. Go on living, go on writing,”
and named one of Summer’s Dominguez writes. Draft a story in which a character corresponds with a
Hottest Books by USA Today, figure from history. Whether through letters, dreams, or ghostly visitations,
comes Matt Bell’s inspiring what would your protagonist ask this historical figure, and what would drive
yet pragmatic guide to writing
a novel. Drawing examples this quest for answers?
from writers such as Garth
Greenwell, Rachel Kushner,
Matthew Salesses, and Jeff
VanderMeer, Bell approaches
Nonfiction: The Cruelest Months
the writing (and rewriting) For as long as writers have put pen to paper, springtime has been a fertile
process in three sections— subject—mulled over, praised, longed for, and even forsaken. From Vladimir
First Draft: Forward Progress, Nabokov’s 1926 novel, Mary, in which he writes that the feeling of “nostalgia in
Generative Revision; Second
Draft: Rewrite, Don’t Revise; reverse” grows stronger in spring, to Angela Carter’s 1966 novel, Shadow Dance,
and Third Draft: Refuse to Be in which she writes that “spring hurts depressives,” the season often symbolizes
Done—leading readers toward hope and anticipation, a climbing out of darkness. When the lingering coldness
a layered approach to polish- of winter remains, however, it is sometimes difficult to transition alongside the
ing by way of a checklist of
tasks that can be applied to blossoms and sprouts. Taking inspiration from this fulcrum between seasons,
a manuscript one at a time. write an essay about a period when you had trouble accepting the onset of
Along the way Bell avoids a spring. Spend time tracing the connection between the world outside and the
one-size-fit s-all approach
and encourages writers to
changing seasons of your emotional life.
either dismiss or, better yet,
subvert any of his strategies:
“This book is here to serve you
and your book,” he writes with
characteristic pragmatism. For weekly writing prompts delivered via e-mail, sign up for our newsletter at
“Only what’s useful to you pw.org/writing-prompts-exercises, where you’ll find our archive of more than 1,500 writing prompts and
applies.” The Best Books for Writers, a list of suggested reading for creative writers.

23 POETS & WRITERS

NEW FROM

C E L E B R AT I N G 2 5 Y E A R S O F H U M A N I T Y
O N E S T O R Y AT A T I M E

A leader in the modern storytelling movement, The Moth inspires thousands

of people around the globe to share their stories each year.

H OW TO T E L L A S TO R Y W I L L H E L P YO U U N C OV E R A N D
C R A F T YO U R OW N U N I Q U E S TO R I E S .

COMING 4/26/22 | PREORDER NOW I THEMOTH.ORG

Available wherever books are sold
 THE LITERARY

Confessions of a
Life
Failed Novelist
I F AT F I R ST YOU D ON’ T SUC C E E D,
T RY, T RY, T RY, T RY, A N D T RY AGA I N

T
W ENTY years ago I published a short story
called “Larsen’s Novel.” The plot was simple:
A man named Larsen unexpectedly presents
his best friend, Flem, with the novel he’s
written. Flem spends the rest of the story crafting increas-
ingly far-fetched excuses to avoid reading the book.
It’s hard to blame Flem. Larsen’s novel tracks the ex- S T E V E A L M O N D is the
ploits of Red Lawson, “a periodontist with the soul of author (at last) of a debut
a bluesman.” A brief excerpt of Larsen’s opus should novel. All the Secrets of the
suffice: World will be published by
Zando in April. His other
“I have never been so insulted in all my life,” Rosetta Stone books include the New York
screeched. Her green eyes blazed like a forest fire ablaze.
Times best-sellers Candyfreak:
“What did I do?” Red declared, his eyes like the eyes of a
A Journey Through the
deer whose eyes are caught in a set of headlights.
But the only answer he received was the slamming of his Chocolate Underbelly of
door, like a crack of thunder inside the eardrum of his heart. America (Algonquin Books,
2004) and Against Football:
I had a lot of fun writing the story. But “Larsen’s One Fan’s Reluctant Manifesto
Novel” was also a veiled confession. In the three years (Melville House, 2014).
preceding its composition, I myself had written a novel
nearly as wretched as Larsen’s. I, too, had foisted this
monstrosity upon a host of unlucky friends, as well as
an agent who took six months to read what she could
before informing me (in forty seconds) that we were
best to part ways.
I wish I could report that this was my first failed novel.
It was my third. I’d written one in my late twenties, before
shipping off to an MFA program, where I hacked through a
second. In all, I’ve written five novels that remain, merci-
fully, unpublished.
I may be an extreme example of the genus but I suspect
that there are hundreds, if not thousands, of other writ-
ers whose desk drawers and hard drives harbor a Larsen’s
Novel or three. We’re essentially the biggest secret society
in the literary world.
Despite having published a dozen other books, I’ve
spent most of my career defining myself as a failed
novelist.
I certainly don’t recommend this self-appraisal to oth-
ers, as it manages to combine masochism with a strain
of self-pity that is often narcissism’s tenant twin. But I

25 POETS & WRITERS

 the literar y life CONFESSIONS

do want to share the insight it took My narrative strategy, if you can

me three decades to grasp: The failed call it that, was to leap into the heads
novels have been central to my success of these heroes and get stuck there,
as a writer. as t hey bu mbled f rom one scene
to the next, spouting smart-aleck

I
AM not advocating that writers commentary. The novels had no sub-
spend years blithely pounding text. Or rather the subtext was: Aren’t
away at futile projects. I’m say- I clever?
ing that for too long I assumed There’s nothing wrong with writ-
the commercial fate of my novels was ing autofiction, of course. Some of my
the only measure of their worth. favorite novels—Marguerite Duras’s
This is the prevalent tendency in the The Lover (Les Éditions de Minuit,
world of publishing, which is intensely 1984), for instance, or Ocean Vuong’s
and publicly competitive. I often think On Earth We’re Briefly Gorgeous (Pen-
of us writers as a legion of insecure sib- guin Press, 2019)—are precisely that.
lings, all battling for the attention of a But Duras’s and Vuong’s prose soars
few distracted parents, most of whom because their narrators are engaged
live in New York City and won’t return in an urgent search for the mean-
our e-mails. ing of what they’ve lived through. I
When one author enjoys success, simply wasn’t ready to do that emo-
the rest of us get to watch them as- tional work, to face the unrequited
cending through the fog of obscurity. desire and desperation beneath all
Social media has made these triumphs my clowning. Instead I besieged the
that much easier to broadcast. We are reader with what I took to be charm,
exhorted to build our platforms, bur- which, as Saul Bellow reminds us, “is
nish our brands. The net result is a always a bit of a racket.”
zeitgeist that simultaneously compels I wouldn’t have been able to articu-
us to silence any mention of our fail- late any of this in the years I was ex-
ures while amplifying the shame we creting those first two novels. I only
feel about them, as we watch our peers knew that the books felt claustrophobic
bathed in buzz. and muddled. Thus, for my third ef-
But in calmer moments I’ve been fort, I decided to write…a historical
able to look beyond my regret. To riff epic.
on a phrase from Thomas Edison: I In college I had come across the
didn’t fail at writing a novel; I just dis- story of Shabbatai Zvi, the most fa-
covered a thousand ways to not write a mous false messiah in Jewish history.
novel. I saw his tumultuous life as the ideal
My initial lesson was that writing substrate for a novel. Here was a can’t-
an “autobiographical” novel requires miss plot, just waiting for my sparkling
a capacity for deep self-reflection. prose.
My first two novels were about, re- I can see now that I was trying to
spectively, an inept young newspaper create a protagonist who was nothing
reporter and an inept adjunct profes- like me. I buried myself in research,
sor. Both books sought to mine the so as to recreate the world Zvi inhab-
absurdities of the only professional ited with a fidelity sure to dazzle the
worlds I knew. modern reader.
But as often happens with writers But novels can only succeed if au-
early in their careers, the bromide thors are able to dramatize the chaos
“write what you k now” becomes a inside their characters. And I had no
trap. I hadn’t conceived of my pro- idea how Zvi—a devout Jew whose
tagonists as separate and apart from tortured psyche was shaped by ar-
me. They were the products of my cane forms of mysticism—viewed
infatuation with language, not my the world.
imagination. And thus I was left to push the poor

MARCH APRIL 2022 26

 the literary life CONFESSIONS

guy around the Levant for three years run for president. This was five years books was more fundamental: While
and 850 pages, hoping he might bump before the 2016 election, but even then I came to each project with a clear idea
into the big-ticket items: love, loss, it was clear that a shameless loudmouth of what I wanted to say, I didn’t know
inner conflict, epiphany. would thrive in our attention economy. my protagonists deeply enough. I had
He did not. My new hero was a man of action, hurl- a sense of what they wanted from the
ing himself into erotic and professional world (mostly acclaim), but I hadn’t

I
N THE wake of each unsold man- entanglements at warp speed. identified the internal conflicts that
uscript, I would pick myself up But velocity isn’t the same thing plagued them before they arrived on
and—after the requisite gnash- as direction. Rereading these t wo the page. Nor did I understand these
ing of teeth—return to my first books recently, I recognized the flaw conflicts as the true subject of my nov-
love, short stories, as well as nonfiction they shared: a meandering plot. They els. It took me a few more years to dis-
projects. cern that these two flaws were
The lesson for me was that it’s intertwined, that the novelist’s
important to accept your limita- The architecture of a novel requires charge is to construct a plot
tions as a writer while pushing that peels away the ploys by
to expand them. Just because I the creation of stakes for all your major which characters conceal their
struggled with the novel form inner doubt. When I reexam-
didn’t mean I couldn’t write characters, as well as intersecting ined my scenes, I saw that too
other sorts of books. often I was indulging, rather
A f t e r t h e Zv i d e b a c l e I (and interdependent) trajectories. than exposing, their failures
launched into a manuscript of self-recognition. My central
that was the opposite of the Style and voice may fuel a strong start, job, it turned out, wasn’t just
grandiose novel I’d envisioned: to engineer mayhem, but to
a journalistic romp through the but novelists need both a blueprint and impel my people, tenderly and
world of candy, my childhood ruthlessly, toward the truth of
obsession. a sense of urgency. themselves.
At t he t ime, I v iewed t he Heading into my fifties, I
book as evidence of my feck- was st ill f ixated on t he idea
lessness; I lacked the patience and contained a multitude of set pieces that I would never be a true writer
self-belief (t hey may be t he same and precious little rising action. until I produced a novel.
thing in the end) to become a nov- This is t he most int ricate, and Some of this had to do with the
elist. t herefore elusive, aspect of novel commercial and critical expectations
I now view the matter more gener- writing: sustaining forward momen- that all short story writers face. Some
ously. My inability to write a publish- tum. It’s especially tricky for short of it had to do with my family his-
able novel actually helped me to cast story writers. We’re used to working tory. (I’m an insecure younger sib-
off a certain writerly vanity that was with a much simpler template: fewer ling; both my parents worshipped
holding me back. Rather than asking characters to track, a shorter timeline, novelists.) W hatever the reasons,
What sort of book should I be writing? I setup and payoff within five thousand the pressure manifested as a crush-
was able to ask a much more useful words. ing anxiety.
question: What sort of book do I want The architect ure of a novel re- W hen a friend suggested that I
to write? quires the creation of stakes for all didn’t really want to write a novel,
My fourth novel was set in a world your major characters, as well as in- I fumed for months. But he was right.
that was more familiar to me: sports tersecting (and interdependent) tra- I didn’t want to write a novel. I wanted
talk radio. I was trying to draw a link jectories. Style and voice may fuel a to be a novelist. My ego was sucking
between the culture of fandom—with strong start, but novelists need both up the attention my characters de-
its restless aggression, entitlement, and a blueprint and a sense of urgency. served.
grievance—and the larger American It’s not enough for scenes to enter- And so, about five years ago, I gave
project of militarism. The novel had tain; they must escalate tension and up. I didn’t stop writing. But I ac-
plenty going for it: a sense of purpose, instigate further action. This hap- cepted that I might never write a novel
a comic tone, a compelling world. It pens, therefore that happens. With- worthy of publication.
also had a passive leading man. out a clear chain of consequence, the Almost at once, I set to work on a
I overcorrected in my next novel, reader is left adrift in an unmediated story about two families—one rich,
writing from the perspective of a sea of…meandering. one poor—bound together by an al-
hedonistic demagogue who decides to The second problem with these leged murder. The more I wrote, the

27 POETS & WRITERS

 the literary life CONFESSIONS

more secrets my characters revealed, I deployed a st rong narrator to It shows a cat attempting to leap
the wider their story sprawled, until it preside over the action and to offer up onto a nearby roof. Someone has
grew to encompass everything from reflection. Later, when it became clear drawn a set of equations above the cat’s
sexual predation to illegal immigra- that the narrator’s commentary was head, so that it appears to be calculat-
tion to scorpion biology. intrusive, I ditched nearly all of it. ing its precise angle and acceleration.
Most important, I thought long and W hat remained was the essence of Then it jumps and misses the roof by
hard about the private schisms that every social novel: the doomed colli- a mile and plummets out of the frame.
tormented each character and how sion of those who possess power with As a novelist I feel like that cat all
the story might push these out into those who don’t. the time. The reason I finally reached
the open. My central protagonist, for As hokey as this might sound, I t he roof wasn’t because I got any
instance, was a fiercely intelligent teen- wrote until I understood all my char- stronger, or improved my math. It
age girl who had been told all her life acters, even the ones whose behaviors was because I had become humbler
to remain invisible. Yet she ached to be were despicable, and I longed each day before the immensity of my task, and
seen, recognized, even desired—and to return to their world. The result- thus more patient and self-forgiving,
these yearnings cast her world into ing book was far from perfect. But for able to recognize my missteps with-
disequilibrium and placed her family the first time in my life, I was able to out s ucc u mbi ng to t he op er a of
in peril. experience it as a success, regardless self-doubt. In short, I reached the
I got stuck a lot. But I didn’t panic of its commercial fate. roof— af ter t hree long decades —
because I was generally able to di- because I leaped from atop a moun-

W
agnose the problem from a previous I ponder my
HEN tain of my own failures.
effort. When the plot began to wan- evolving relation-
der, I cut scenes. When I felt myself ship to my unpub-
rushing through perilous moments, lished novels, what PW.ORG
settling for f lickering moments of comes to mind is a silly internet video Read an excerpt from Steve Almond’s
anguish, I slowed down till I felt the I’ve watched a hundred times or so, new novel, All the Secrets of the World,
sting of self-revelation. usually to avoid working on a novel. forthcoming from Zando in April.

29 POETS & WRITERS

 THE LITERARY

Life
Becoming a Mother-Writer
NO T E S ON R EC ONC I L I NG T H E PE R SONA L ,
T H E PROF E SSIONA L , A N D T H E P OL I T IC A L

M
OST of us, at some point in our writerly
lives, have read with hunger the canon of
books on writing, meaning how-to books
about the process of becoming a writer
penned by the Great Authors, white and/or male. Stephen
King’s On Writing, Ray Bradbury’s Zen in the Art of Writ-
ing, Dorothea Brande’s Becoming a Writer, Anne Lamott’s N A M R A T A P O D D A R writes
Bird by Bird, and Haruki Murakami’s What I Talk About fiction and nonfiction, serves
When I Talk About Running are a few that come to mind. as interviews editor for Kweli,
This canon urges the aspiring writer to develop a writ- and teaches literature as well
ing discipline, to hone the tools in one’s toolbox—a classic as creative writing at UCLA .
male metaphor for craft—and to use both sides of one’s Her work has appeared
mind, unconscious and conscious, in the process of cre- in publications including
ation. Writers in this canon often confess that they write Literary Hub, Longreads,
because they want to write, but they rarely mention the the Kenyon Review, Electric
conditions of possibility that allow them to write. In other Literature, Catapult, and The
words, for these writers, desire and agency in becoming a Best Asian Short Stories. Her
writer are seldom, if ever, mediated by factors of race, class, debut novel, Border Less, will
caste, gender, ableism, or, in general, one’s position within be released in March from
the larger forces of history. 7.13 Books. She holds a PhD
Once, I loved the how-to canon, and even today I see it in French literature from the
offering valuable advice for aspiring writers. Although now University of Pennsylvania,
that I’m forty-three, an American citizen who grew up in the an MFA in fiction from
so-called third world, a brown “emerging” writer who has Bennington College, and
been writing and publishing for a decade and half, releasing a a Mellon Postdoctoral
debut novel at “too late an age” and celebrating my three-year- Fellowship in Transnational
old’s progress with potty training within a global pandemic, Cultures from UCLA . Find
the canon often reads to me like a training manual dropped her on Twitter, @poddar_
from Mars. Or, to use a homegrown analogy, the canon reads namrata, and on Instagram,
like a rhetoric of the American dream, promising citizenship @writerpoddar.
within the ivory tower of Literature to anyone who will work
hard and master the rules of the game, aka craft.
I’m hardly the only one who finds that the canon upholds a
myth of meritocracy and universalism. In recent years, other
mother-writers, predominantly white, have exposed what
truly allows the Great Male Authors, with or without chil-
dren, to succeed professionally. For instance, in her piece for
Literary Hub “The Heartbreaking Ingenuity of the Mother-
elena bessi

Writer,” Olivia Campbell talks about J. D. Salinger, “who

built a cabin in the woods a quarter mile from his house to
have a quiet place to work away from his family.” She adds:

31 POETS & WRITERS

 the literar y life BECOMING A MOTHER-WR ITER

“The problem is that Salinger used the writers who had children and who
cabin to avoid all his other responsibili- published substantially only in recent
ties. He stayed there for weeks at a time, history (George Sand, Sigrid Undset,
leaving his wife to raise their two young Grace Paley, Toni Morrison, Alice
children alone. But she also had to take Walker, Joan Didion, Mona Simpson,
care of him, bringing him sandwiches so Jane Smiley, among others) and who
he didn’t starve.” didn’t have children (Jane Austen, Anne
In other essays published by the Paris Brontë, Emily Brontë, George Eliot,
Review Daily, Longreads, and Literary Emily Dickinson, Virginia Woolf, Zora
Hub, we hear mother-writers struggling Neale Hurston, among others) and con-
to secure a space where they can write cludes that “reliable birth control is one
“with the door closed,” to echo Stephen of the best things that’s happened to
King, and access the solitude often pre- contemporary literature…. [I]t is only
scribed as a prerequisite to good writing. now that women in any numbers have
Instead mother-writers write in their written literature.” While I nodded in
cars, bathrooms, closets—that is, when agreement here and admired the book
they aren’t writing while breastfeeding, for its lyrical, astute observations, I also
or typing notes in their phone while yearned for it to offer mother-writers
grocery shopping with a baby strapped like me a clearer blueprint to negotiate
to them, or while doing any number of the personal and professional demands
domestic chores rendered invisible by a of my life with a better understanding,
capitalist patriarchy. Even if narratives if not more ease.
by writer-mothers don’t name it, they For instance, when Erdrich wears
underscore a persistent erasure of re- her baby and shows up day after day
productive labor, and care work at large, at her rented work space, across from
that births the human race and sustains the farmhouse where she lives with her
our communities—labor that COVID- family, I wondered: Who pays for the
19 forced the planet to acknowledge as “room of her own”? Who takes care of
“essential work,” as Jordan Kisner ar- her other children and related domestic
ticulates well in a February 2021 New chores, especially since I struggle with
York Times Magazine article titled “The balancing work and domestic labor
Lockdown Showed How the Economy involved with one preschooler? As im-
Exploits Women. She Already Knew.” portant, what about sleep deprivation
Women’s shouldering of this labor un- or backaches caused by regular baby-
derpins the silent assumptions of the wearing? Beyond meditations on a his-
canon of advice on writing. tory of sexism and stifling gender roles
Unlike cis male authors who often that I relate to, neither financial nor
talk about writing through an assumed psycho-physiological challenges seem
identity of the “universal” individual, to affect her as she shows up routinely
Anne Lamott mentions her writing at her desk as a mother-writer.
life as a single mother in Bird by Bird: Of all the works I’ve read by mothers
Some Instructions on Writing and Life about sustaining a writing life, I relate
(A nchor, 1995). However, mother- the most to Camille T. Dungy’s 2017
hood’s impact—physical or mental— nonfiction book, Guidebook to Relative
on her creat ive aspirat ions never Strangers: Journeys Into Race, Mother-
takes the spotlight within the book. hood, and History (Norton), even if our
In comparison, Pulitzer Prize win- intersectional identities are shaped by
ner and mother of six Louise Erdrich different geopolitical and historical
is more open about a mother-writer’s contexts, and I’m aware to not equate
struggle with pursuing a career and our str uggles in a simplist ic way.
self-preservation within her memoir of Guidebook is a story of a Black writer
early motherhood, The Blue Jay’s Dance and early mother who straddles full-
(HarperCollins, 1995). Erdrich even time teaching, writing, and speaking
makes a long list of respected women gigs while managing multiple sclerosis

MARCH APRIL 2022 32

 the literary life BECOMING A MOTHER-WR ITER

I
and facing constant microaggressions N 2018, when I found out I was swapped services with a doula and a pre-
in navigating the predominantly white pregnant, I left my position as natal yoga instructor for care toward my
spaces of the American academy and a lecturer at UCLA despite con- changing body and for working through
art world. Moreover, because t he ventional wisdom offered to me my anxiety around labor, postpartum
author-narrator cannot hire full-time by both the writing and brown immi- healing, working with sleep deprivation,
childcare, given its exorbitant costs, grant world to not quit my day job. My and more. At the same time, I worked
and because her husband—whose po- baby was due on my fortieth birthday, on my manuscript and took up freelance
tential income she needs to supplement and I’d spent a good chunk of my life writing commitments—essays, features,
hers—is finishing up a dissertation, she postponing becoming a mother and interviews—that would help create vis-
takes her baby on several flights each a “creative writer,” or someone who ibility for my voice and sate the desire
month for speaking engagements that writes for a broader readership rather to reach a like-minded community that
allow Dungy to cover her bills. What I than an academic one. Living paycheck has always fueled my work. Besides, not
relate to deeply within Dungy’s book is to paycheck for much of my professional having to work toward creating vis-
a rare attempt to nuance the degree of life was mostly responsible for this de- ibility as an emerging writer within a
exhaustion, physical and mental, that ferral, even if my immigrant status in white supremacist art world is its own
mother-writers endure while negotiat- the United States, conditional on full- kind of privilege, one I associate with
ing different personal and professional time employment; my indecision about generational wealth, white or caste privi-
roles, mediated by the intersection of which country I wanted to eventually lege, the large publicity budgets of the
race, class, gender, ableism, history, and call “home”; and an insufficient support Big Five, a secure day job with a monthly
geography. Not surprisingly, unlike system in what seemed like a radical life paycheck, or a combination of these fac-
Erdrich’s memoir on writing and par- transition had enough to do with this tors that often go hand in hand to repre-
enting, Guidebook doesn’t show Dungy postponement too. In my mid-thirties, sent the “universal” aspiring artist in the
in the process of writing “with the door I married the man I’d been dating for canon on writing.
closed,” even if the book opens with a while, decided to put down roots in Despite my preparation—material
her time at an all-white artist residency California, and applied for permanent and sociopsychological—for becoming
where she struggles to access the prom- residency, and while I continued to a mother-writer, my son’s birth in 2018,
ised “unmolested psychic space” in teach thereafter, over my pregnancy I my manuscript’s completion in 2019, and
order to create art. Instead, much of did have access to a stable income for the coronavirus pandemic in 2020 left
Guidebook focuses on her multitasking our family of nearly three, thanks to my me with a crushing experience of isola-
as a Black mother with a deep aware- husband. In other words, I had the enor- tion, one that made me simultaneously
ness of history, an early mother but a mous privilege of risking professional crave solitude to write and long to escape
more established writer, with credibility single-tasking and writing without the loneliness of my life as a mother-
within a literary world and previously undertaking other jobs, at least until I writer. A pre- COVID quarantine im-
published books. eased into motherhood. Within a couple posed by my fourth trimester—one
To echo t he t it le of Dorot hea of weeks of saying goodbye to teaching, that included heavy sleep deprivation
Brande’s famous book, I return then I signed a contract for my debut novel and nursing round the clock along with
to the idea of “becoming a writer.” with a reputed indie press in India—a domestic chores that increased tenfold
And I share a personal story for early sign of the universe’s support of my deci- with a newborn—became more chal-
mothers who are also early writers who sion, I told myself. Over the course of my lenging to endure due to deadlines for
have been writing and publishing for pregnancy, I would revise and finish a my book’s completion and a goodbye to
years but who haven’t yet published a polished manuscript for my Indian pub- social interaction with colleagues and
book that allows them to show some- lisher. Also I hoped that speaking gigs students in my teaching life.
thing as work within the industry and and other teaching opportunities would The isolation of new motherhood
access better financial support through present themselves, once the baby and and my writing life felt particularly
teaching, editorial, or speaking gigs. the book were out in the world. jarring as my husband resumed work
Before I proceed, I want to clarify that As my belly grew I prepared the sup- after two weeks of paternity leave be-
by “early mothers,” I do not refer solely port system I’d need for the personal cause we needed to keep paying our
to biological mothers who gave birth and professional transition ahead of me bills as a family. I found myself confined
to their child, but to all women or gen- while staying grateful to my partner to the more traditional gender role in
der-fluid or nonbinary people who see for his financial support. I read books which I would write or work remotely
themselves as mothers to very young on new parenting, had conversations from home and raise a child, for the
children who, unlike older children or about the same with other parents greater part. When early parenting,
teenagers, are a lot more dependent on and mother-writers, took lessons with sleep deprivation, our demanding
a caregiver for their basic needs. my partner on labor and nursing, and work lives, and social conditioning

33 POETS & WRITERS

 the literar y life BECOMING A MOTHER-WR ITER

toward gender roles put tremendous, That said, as a f irst-generat ion my teaching at UCLA , only with the
sustained pressure on our marriage, my American who lives oceans away from meager pay rate reserved for early writ-
partner, a healthcare professional with her own family and not within an easy ers and nontenured faculty.
a monthly income, an office outside of driving distance of her SoCal friends, While I juggled the completion of my
our house, and a roster of ailing patients I see myself among the luckier ones. manuscript and freelancing with the re-
could justify his fatigue and need for After all, my mother flew in from India lentless physical and emotional labor of
rest to us and our shared communities to help us with our newborn while I early motherhood, I became the poster
in ways I never could with my highly healed postpartum. Once my mother child of privilege for many in my brown
underpaid, remote job involving “word- left, my husband covered the bills for a family—Indian and American. Middle-
craft” within a capitalist patriarchy. part-time nanny, an exorbitant expense class American citizen, family-in-law
Migration added another layer to my that we chose over our health insurance, who helps babysit, part-time nanny, a
new identity as a mother-writer and the and my family-in-law offered additional single child, a husband playing provider
power dynamics of heterodomesticity. help so I could complete my fiction while I wrote stories for “work”! What
My husband, for instance, was born and manuscript and sleep through the night is this writer-mom whining about?
raised in greater Los Angeles, where we at least once a week. I’m enormously To a degree my single mother, a for-
live, and was surrounded by family and grateful for this village of a nanny, a mer academic who’d published books
friends he grew up with, unlike me, who family-in-law, and my partner as a co- and raised two children while work-
left family in India for a new home on parent, all of whom helped with child- ing three or four jobs, who had it way
the other side of the world. As a new rearing and my pre- COVID writing rougher than me in a middle-class India
dad my partner could replenish through life. Yet this gratitude coexisted with (read: poor by North American stan-
the comfort zone and unconditional my constant guilt at not contributing dards), understood my struggles amid
help of his loved ones in ways I simply enough toward our family bills and re- the socioeconomic privileges I had ac-
couldn’t as a daughter-in-law because lieving my partner’s professional labor, cess to, more so with my migration to
trust and support here come with a set even if I did work constantly outside one of the world’s richest economies.
of expectations with which brown sons of child-rearing with editing, writing, Most of my brown loved ones could
and sons-in-law rarely deal. freelancing, and eventually resuming not, however, attune to my struggle as

M A RCH A PR I L 2022 34
 the literary life BECOMING A MOTHER-WR ITER

a mother-writer. Factors of race, class, Americans. On the other hand, for my unconditional care extended by one’s
and migration played into this absence Indian American family with a working- family, or later, the fear of losing loved
of genuine empathy. For instance I’m class background, mothers had it much ones in a global pandemic when India
the first of my generation in my family rougher than I currently do, as they hit the highest infection rates in the
and family-in-law to pursue writing as raised multiple kids while working full world, or later, the actual loss of loved
a professional path and the first to live time in physically demanding jobs. In ones whom we grieved as migrants,
continents away from immediate fam- this context I can hardly blame my peo- away from our families in a pandemic
ily. To undergo a radical life transition ple for their emotional unavailability on and without a sense of closure to our
without the support of one’s commu- my path as a mother-writer, even if filial relationships.
nity within a driving or flying distance loyalty strongly connects us. So much of the existing canon on
of a couple of hours is unimaginable to And so I learned to seek emotional becoming a writer is about upholding
most of them. Besides, the professional support elsewhere and found much of a moral stance over a systemic one in
pursuit of writing and motherhood are it in a world of social media and virtual the creation of art: the pursuit of work
both demanding forms of labor, not an hangouts. It was my online community ethic and solitude, and a muzzling of the
eternal source of pleasure—another idea of middle-class mother-writers with inner critic as the touted pathways to the
that seemed foreign to my people. Of children in diapers—mothers who did promised land. We’ve only just begun to
course a global socialization into gen- not struggle at the urgent level of sur- debunk the myth of meritocracy within
der roles in which “good girls” natu- vival with food, clothing, and shelter but the literary world known to be notori-
rally love caregiving and domesticity who constantly struggled to feel seen or ously white, cis, straight, male, and upper
has something to do with the commu- heard and to justify their labor or ex- class or caste in its fundamental assump-
nal apathy I experienced. What added haustion within a capitalist patriarchy in tions of not only what becomes art, but
to the latter was that motherhood was which “work” is perceived in paychecks as much about who becomes and how
an easier story for my family in India, and published books. Moreover, immi- one becomes an artist. Through my
cushioned by paid domestic services that grant mothers of color understood my story I see also how ableism pervades
are a lot more affordable for middle- petty quips like the longing for home- the how-to canon, how a “normally”
class South Asians than for middle-class made food in difficult life moments as functioning physiological self is simply

WRITING SEMINARS
Each term in our top-ranked, low-residency
program, you and your cohort will attend a
residency at our Vermont campus—tucked
between two stunning mountain ranges. You’ll
work 1:1 with acclaimed authors to write bold
new works of literature. You’ll read. Give us
two years. Actually, give yourself two years.

READ.
WRITE.
BE READ.

35 POETS & WRITERS

 the literar y life BECOMING A MOTHER-WR ITER

assumed in narratives about writing, by consistent basis while being goaded to was a contender for three literary awards
mothers or others. If writing is firstly a self-erasure for the same by a global do- conferred by reputed presses, and I even-
literal, embodied act, then the creation mestic and work culture. tually found an Asian American pub-
of “a vivid and continuous dream,” to In early 2020, amid one of the most lisher for my book. Soon I signed with a
echo John Gardner, requires a replen- emotionally and physically demanding literary agent, resumed teaching without
ished mind and body that comes from phases of my life, I finished my manu- the security of a renewable contract, took
regularly sleeping through the night as script. With my son’s graduation to tod- on more freelance gigs to support that
well as an “unmolested psychic space,” to dlerhood, the promise of seeing friends income, and helped with our family bills.
echo Dungy, that comes from not strug- and visiting family in India seemed to I enrolled our son in day care in 2021. To
gling on a daily basis with physical and return. But then COVID -19 became access steady childcare for a fixed num-
mental well-being. a global threat, and I was back to the ber of hours per week was, hands down,
Surely no one writes from a centered seclusion I was desperate to exit. What a game changer in my mental and overall
self or optimal work conditions every differed this time was that socio-physical health and, consequently, in my path as
day, even before the conditions of a isolation and its toll on mental health and a mother-writer.
global pandemic. But with or without productivity became worthy of global As I write this essay, I’m proofreading
a pandemic, early writers who are also empathy. Cyclones hit India. Editorial the galley of my debut novel, reaching
early mothers and who neither come layoffs at indie presses led to the termi- out to peers to coordinate book events,
from generational wealth nor have nation of my contract with the Indian soliciting blurbs, teaching literature
access to full-time domestic services publisher and, with it, the freelance classes, maintaining an active online
write from an acutely pulverized inner opportunities a published book could presence, freelancing, and curating
self almost every day. In other words produce. Over time I reshopped my conversations with other writers, in ad-
my point isn’t that moms alone strug- manuscript in the U.S. market, where dition to parenting and nurturing my
gle with accessing the right conditions those who acquire and edit books are personal life. The cover design for my
for the possibility of creation but that known to be 85 percent white. I lost track book was recently finalized, and the first
early writer-mothers write from a place of the number of encouraging rejections round of blurbs has started coming in.
of a highly fragmented, spent self on a I received for my manuscript, even if it With an income, however modest, from

M A RCH A PR I L 2022 36
 the literary life BECOMING A MOTHER-WR ITER

freelancing and teaching, and a galley to essay for another day, one that will ex- Reckoning (One World, 2020) as a sys-
hold in my hands, I’m already noticing a plore beyond race and gender, the slip- tematic “deflection of one’s position in
shift in my life as a mother-writer: I can pery notion of class and its relationship the socioeconomic hierarchy, based on
now claim my space and time more eas- to geopolitics, or a staggering gap in the confidence that one is ‘unmarked’
ily for work. I have to explain my need resources that distinguishes the first and ‘free to be you and me.’”
to recharge less to the folx around me. world from a third. In short, though: Still, in addition to motherhood, the
As for the debut book that will “le- Like many women of the global ma- highest gift and privilege of my life, a
gitimize” my transition from a writer to jority, especially those from the third huge fulfillment on this road to becom-
an author, I hold the galley in my hand world, I had to learn to see art-making ing was the self-validation I found when
whenever I feel the weight of a capitalist as a professional possibility, and then I first read the galley of my book, Bor-
patriarchy—it comes in so many forms trust my own voice and vision within a der Less, the surreal feeling of sinking
each day—that questions the existence system that’s built to systemically erase deeper into my vision of who I might
of my labor. From the time it was con- the former. The path to decolonizing be. With its fragmented form and its
ceived as journal entries to the time it my mind of what art is and who gets engagement with power via a public
will be released, this novel took seven- to earn the label of an artist has come sphere, and a private sphere that’s rarely
teen years, a book I sold for a three-fig- at an immense material and emotional seen as worthy of “serious” literature,
ure deal. I owe everything to my Asian cost, one I’m no longer sure I’d pay if in my novel I also loved holding a lin-
American publisher and editor for tak- I knew beforehand what it entails for eage of brown border-crossing mother-
ing a chance on my work. people like me to become an author. writers over a lineage of cis white or
Did I just write the Great American Or maybe I’d pay it willingly if there Brahmin men, even if borders divid-
Novel, one that took years to finish and was a canon on writing that helped ing literary legacies are dubious after a
that explores a history of the nation aspiring writers of the global majority point. Lastly, in this journey of becom-
state and the human condition at large? prepare for the road by exposing the ing an author, I loved discovering that
I wrote the contrary, in fact. Then why myths of meritocracy and innocence, while I’ve never been the writer who
did this journey of becoming an author or what Cathy Park Hong describes writes solely for herself, I was writing
take almost half my life? Here is an in Minor Feelings: An Asian American all these years, firstly, for me.

37 POETS & WRITERS

SIX YEARS AFTER THE RELEASE OF HER ACCLAIMED DEBUT, LOOK,
SOLMAZ SHARIF RETURNS WITH A SECOND POETRY COLLECTION, CUSTOMS,
THAT BUILDS UPON THE POETIC SCRUTINY SHE HAS LEVELED AT THE
NATURE OF LANGUAGE, FOREVER IN TENSION WITH THE NATURE OF BEING.

Naming the
Nowhere
That Language
Was Stuck In
I
T is a terrible t r ut h t hat war is
rapacious. It is also true that even
as it destroys, like any industry, it
creates. Of particular interest here is
the language it manufactures: code words,
lexicons, policies, numbers that bleed
confirmed kills and “collateral” damage.
War teems with its own prolific chatter,
revealing and obscuring its activities. In
2016, Graywolf Press published Solmaz
Sharif’s Look, a debut collection that holds
war and its brutal production of murder
and lang uage under blanching light.
A keen work of documentar y poetr y,
Look examines and repurposes the U.S.
Department of Defense’s Dictionary of
Military and Associated Terms, a living (as
in frequently updated) compendium of
military terminology. Throughout Look, BY DOUGLAS KEARNEY
Sharif reveals how institutional argot PHOTOGR APHS BY JASON ARMOND

MARCH APRIL 2022 38

 Q&A SOLMAZ SHARIF

is entangled in our personal lives, final return to the country of her par-
strangling some and binding many ents’ birth. Born in Istanbul to Iranian
Chuck others ever more tightly to euphemistic parents, Sharif holds enduring questions
Rosenthal erasure. In “Personal Effects,” she about how language acts in tension with
writes to her uncle: the nature of being, what it means to
own nothing, the illusion of fragmen-
Daily I sit tation, and how writing poetry can be
with the language a practice of preparing ourselves to re-
they’ve made ceive what we thought was unknowable.
When Sharif was an infant, she and
of our language
her parents relocated to Texas before
to neutralize
moving to Birmingham, A labama,
the capability of low and finally to Los Angeles when she
dollar value items was eleven. She went on to earn de-
grees at the University of California in
like you. Berkeley and later New York Univer-
sity. Her writing has garnered numer-
The language in capital letters is ous awards, including a “Discovery”/
Let’s Face the Music and Dance drawn from the military dictionary, a Boston Review Poetry Prize and the
is three books in one: part presence that occupies the poems in Rona Jaffe Foundation Writers’ Award,
contemporary love-story set in Look, which went on to be named a fi- along with fellowships from the Na-
Los Angeles; part philosophical nalist for the 2016 National Book Award tional Endowment for the Arts and
meditation on desire; and part in Poetry. the Lannan Foundation. Sharif is cur-
historical romance set during In March, Graywolf will publish rently an assistant professor of creative
the siege of Vicksburg and Sharif’s Customs, a collection in which writing at Arizona State University.
modeled loosely on the film documentary shifts to the periphery, Throughout our conversation I found
Casablanca. Deftly innovative, making space for poetry that further myself considering two meanings of cus-
intellectually engaging and amplifies the political in the personal, toms simultaneously at play in her work.
thoroughly enjoyable, it is adding pressure to the lyric “I” with a One, a set of conventional cultural prac-
Chuck Rosenthal's 20th book. voice that is “made of all people some- tices; the other, the place one goes to de-
how.” Customs finds Sharif diagnosing clare the presence, and often the value,
loss, particularly loss of desire and the of “foreignness” in one’s baggage. And
“No one inflects
loss of longing itself. These bereave- I wondered about the power of naming
their prose with ments are in large part the effect of one thing “home” and another thing
the wild and absurd the poet’s trip to Iran in 2014, when “foreign,” how these acts of attaching
beauty of existence the house belonging to her late grand- meaning are also acts of attempting to
better than Chuck mother was sold, puncturing Sharif’s hack away that which we do not con-
sense of what “home” could be and lead- sider integral to our wholeness. Solmaz
Rosenthal.”
ing her to suspect it may have been her Sharif’s new work builds upon the poetic
—Elizabeth McKenzie
scrutiny she has leveled at the nature of
language and the meaning making it
Available through D O U G L A S K E A R N E Y has published proliferates. Customs, as I gleaned from
AMAZON, INGRAM,
INDIEBOUND, BOOKSHOP, seven books ranging from poetry to my conversation with Sharif, is an ac-
and at essays to libretti. His most recent poetry count of feeling more than looking.
www.SKYLIGHTBOOKS.com collection, Sho (Wave Books, 2021),
was a National Book Award finalist. I want to start off with the idea
The recipient of a Whiting Award and of diagnostics. You’re much more
a Foundation for Contemporary Arts interested in diagnosis than cure.
Cy Twombly Award for Poetry with You’ve also said that in your newer
residencies and fellowships from Cave work, you put yourself at the nexus
Canem, the Rauschenberg Foundation, of transformation in a different way
and others, he teaches creative writing than in the past. I’m curious: Does
at the University of Minnesota in this feel like a viable way of looking
Minneapolis. at the work going on in Customs? A

MARCH APRIL 2022 40

 Q&A SOLMAZ SHARIF

space between diagnosis and cure? part names this moment, when I feel requires vulnerability of the reader
Is there a third space: a lab space, an like I lost even a sense of loss with my because a reader who approaches a
experimental space? final return to Iran. What I held so poem is open to being moved. There’s
I think there’s a way that everything dear or what fantasy I had of return an opportunity to exploit that open-
is always that third space. All binaries was gone. Then in the third I was re- ness. With that openness, what in-
are false, but when it comes to writing ally trying to just write my way out. formation do I want to give? How
individual lines or choosing between do I want to challenge the reader? I
one image and another or one music There’s so much there! I’ll start felt a more hostile impulse, I think,
and another music, I tend to choose with something mechanical. These and I wanted to stretch ideas of what
the one driven by diagnosis. I don’t ask three parts, when did they materi- it might mean to bore a reader and
myself, “How can I word this in a way alize as categories or resonances? what it might mean to bore into some-
that points toward cure?” It’s “How How did that structure nominate thing, ad nauseam. As I was doing that
can I word this in a way that is most itself? I found myself moving away from
true to what is.” It wasn’t clear early on. The second documentary altogether.
My hope is that by naming what is, section, “Without Which,” is actually In the distant background I was
cure becomes inevitable. As I was writ- a much older poem. I began writing it thinking about the three parts of the
ing Customs, my sense of “is” shifted. after I came back from Iran in 2014. qasida, an ancient Arabic and West
Where “is” had been a material reality I worked on it for a couple of years. Asian poetic form, which tradition-
of just looking up and naming what’s I ended up hacking it into pieces and ally begins with somebody returning
around me, what’s in the news, what publishing individual poems from it. to the caravan and finding the cara-
I’m hearing, what I can cite, it became Many years later I went back to it, and van has moved on. The second part is
an inquir y into inner longing and I regretted that decision. I noticed all diagnosing where you find yourself.
inner music that has been guiding all these resonances coming up between Then it offers a t hird movement,
my choices. I tried to turn more di- that poem and all the other work that I which I envisioned as “An Otherwise.”
rectly toward it and name it. The more had been writing, these motifs coming What does it mean to name where one
time I spend in this material diagnosis, up that I wasn’t entirely in control of. is, what does it mean to name what one
the more I hunger for that third space I was wondering, “Okay, what would has lost, and then how does one write?
you’re talking about. The more I want it mean to allow this process of revi-
to change material reality. The more sion and recurrence to appear and to I have a question that relates to
my writing and the process of writing be highlighted in the book rather than the qasida and the caravan moving
itself insists on that change. worked out and ironed over?” on. I’d like to hear what you have
Customs moves in three parts. The We often talk about the vulner- to say about “home,” as you talk
first is heavily diagnostic. The second ability of the writer, but a poem also about loss in the book’s second sec-
tion, “Without Which.” Are there
POEM different kinds of losses one could
experience from a static site versus
Social Skills Training a traveling one?
Studies suggest How may I help you officer? is the single most disarming thing to In my trip back to Iran in 2014, my
say and not What’s the problem? Studies suggest it’s best the help reply My pleasure grandmother had died, and her house
and not No problem. Studies suggest it’s best not to mention problem in front of was up for sale. This is a house that
power even to say there is none. Gloria Steinem says women lose power as they my father had lived in when he was a
age and yet the loudest voice in my head is my mother. Studies show the mother kid. This was the place where I was
we have in mind isn’t the mother that exists. Mine says: What the fuck are you supposed to have been. The tense my
crying for? Studies show the baby monkey will pick the fake monkey with fake friend Samira Yamin and I worked out
fur over the furless wire monkey with milk, without contest. Studies show to was the “might have otherwise been.”
negate something is to think it anyway. I’m not sad. I’m not sad. Studies recom- Like, “This is what my life might have
mend regular expressions of gratitude and internal check-ins. Enough, the wire otherwise been.” Once that house was
mother says. History is a kind of study. History says we forgave the executioner. gone, I didn’t have the mugs, the tiles,
Before we mopped the blood we asked: Lord Judge, have I executed well? Studies the colanders, and all these things to
suggest yes. What the fuck are you crying for, officer? the wire mother teaches me touch and think “mine.” I had to ne-
to say, while studies suggest Solmaz, have you thanked your executioner today? gotiate my relationship with “mine.”
I have never felt anything was mine
“Social Skills Training” from Customs. Copyright © 2022 by Solmaz Sharif. Reproduced in the United States. I’ve made a peace
with the permission of Graywolf Press, Minneapolis, Minnesota, graywolfpress.org. with that. But with the loss of this

41 POETS & WRITERS

 Q&A SOLMAZ SHARIF

house I realized, “Oh, this was a lie

too.” It wasn’t mine. I lost the fantasy
of there being an actual place where I
would feel more at home.
This is the truest space for us all,
this sense that belonging and con-
nectedness is actually transient and
illusory and not tied to material or
concrete circumstances.

Something you said resonates—that

you’ve never felt anything in the
United States has been yours. A part
of the politics of documentary poetry
one might assume is that by collect-
ing the material, the poet is laying
claim to it. I think that’s what some
assume, but I’m interested in how
that operated for you. Was claiming
a part of the gesture of documentary
poetry for you? What happens when
you realize that everything you’re
grabbing just falls away?
That’s a great question. I don’t feel like
I’m collecting things that are mine.
I’m thinking that, for me, the practice
of writing documentarily is a practice
of what happens if I get a little bit out
of the way. Not completely out of the
way; that’s also a lie. I am the one who’s
making the choices as to what should be
here, what shouldn’t be here. But what my mouth. It was everything I knew. with your question of “is-ness.”
happens if I clear space here for the reg- I k new why I had to say a thing. I What is is-ness? Who is “she” in
isters, the tones, and the textures that knew what to say. The poem is always relationship to who this other person
supposedly don’t belong in a lyric space? a little bit ahead of the poet, but the might have been?
distance between what I wanted to say I never thought I’d be talking about it
I’m struck by the physicality in how and where the poem was, wasn’t that like this, to be honest. I guess when
you describe that process of moving great. Now I feel like I’m writing from you really do give yourself over to
yourself to the side, making your- back here somewhere [gestures behind the practice of a thing, it will work
self somewhat peripheral—where her head]. It is some self that is just its machinations or magic on you in
a director might be during a stage outside and just larger than me and is time. The book ends in the middle of
play: there in the wings. What did not as knowable. Look and everything a sentence because I’m already think-
you find when you allowed yourself else that I’ve done and do—and all the ing of the next book as a continuation
to take the more central space in things I will probably do as a poet—are of this last of three parts. I’ve always
the poems? Who did you find there just training to be able to catch this loved that gesture, that kind of Leaves
when you pushed documentar y frequency. Does that make sense? of Grass gesture of rewriting the same
aside? How long had that person book over the course of one’s life, and
been clamoring to be in that space? Yes, it’s preparation. The practice what does it mean to revisit and keep
I can’t name her yet, but she has cer- isn’t the writing; the practice is building one thing over the course of
tainly been behind all of it already. She preparing. one’s life, all the places it might go. I
is the person who’s made of all people Exactly. don’t know. Doesn’t necessarily line
somehow. Often I think spatially. The up with tenure calendars and all these
sense I had when I was writing Look The way you are formulating who other things, but it is what it is, and I’m
is that I was writing with the front of this person is to me chimes so clearly lucky for it.

MARCH APRIL 2022 42

 Q&A SOLMAZ SHARIF

My dea r f r iend t he poet Yon a poem to puncture the illusion so much; But it doesn’t make for better writing. It
Harvey and I were having this con- it’s to honor it. makes for a death. It just makes you dead
versation, and she said, “I’m not I appreciate, too, the word integrity. before you die to be so well-behaved and
writing for awards; I’m trying to I’m realizing that that’s the central word gracious. You’re trying to get to this
get my soul ready.” of my practice. How do I live with in- next thing when you can really live,
Yes. Beautiful. tegrity? I’ve wondered that, politically and the reality is I’ve never seen anyone
and ethically, for a very long time, and become radicalized by the granting of
That is so much of what you’re de- now a part of it is “How do I live with tenure. [Laughter.]
scribing about what you’re doing. a spiritual integrity?” Also I love that: I realized a lot of this pressure was
That you are preparing to become “Get my soul ready.” How to know how coming from workshop norms. “Show,
the site where the “is-ness” is. to get out of the way of things I don’t yet don’t tell.” In telling, it’s harder to be
There was a question I was forming know how to articulate or how it lines well-behaved. Telling becomes im-
because you had me thinking a lot up politically with everything I’ve done mediately offensive and identifiable.
about wholes when you mentioned so far—but if I know it to be true and I But revolution or liberation actually
regretting hacking up “Without know its intention is not to harm, then would require a lot of telling and not
Which.” What is your relationship it is my job to live with integrity toward just showing. So what does it mean to
to wholeness—or maybe a better it and in naming it. make that an aesthetic faux pas? And
term is capaciousness? The “she” That’s such a beautiful question, and how does that ensure we remain well-
you found is capacious and multiplic- I’m going to sit with that one for a very behaved and gracious in our work?
itous. Is wholeness the word? Is integ- long time, so I’m sorry, it’s an incom- That became the thorn of Customs.
rity the right word? Maybe none of plete answer.
these are right, but what from this The thorn as the point of irritation
accretion resonates with how you Something that’s been transparent and the thing that refuses rhyme. All
imagine your writing practice and, during the times we’ve had a chance right. Super-geeky question: How
therefore, your life practice, or even to speak at length is this sense of does a commitment to telling change
spiritual practice? searching, your sense of “I’m going your syntax?
You’re asking all the questions that to keep doing this until I get right Interestingly enough, it simplifies it.
I’m asking myself and that I don’t yet and until I get it right.” I’m going Every once in a while I just need a sim-
have language for, so I’m curious what’s to quote a line from the last time I ple declarative sentence in the middle.
going to come out of my mouth, and I’m heard you read: “I’ve been largely I’m think ing of “Poem About My
curious how I’ll feel about it by the time well-behaved and gracious.” Where Rights,” in which June [ Jordan] says,
it’s published, and then how I’ll want is that in the origin story of Customs? “this poem / is not consent.” A simple
to revise it and how I’ll be revisiting it. That’s from a poem called “Desired declaration like that to puncture the
I suppose the only thing that is Appreciation” that appears in Look, lyrical sensibilities of syntax. I think
possible is wholeness, that any kind of which I consider the transition to that’s how I think of telling. That, too,
hacking—that’s the illusion. But as a Customs. I think I wrote it in 2015, ends up being the risk of it. There is a
writer I care for the hacked things, in the winter. I was at MacDowell. I certainty in telling, and if I believed in
in their illusory hackedness, and what spent that whole winter reading Emily it fully, I would be an orator. I would
it might mean to name, very smally, Dickinson and transcribing her work. be a rhetorician; I wouldn’t be a poet.
the seemingly aborted or disdained or It was great. Oh, I also read the Sen- I like that a poem demands the telling
broken things that feel incomplete or ate Intelligence Committee report on be as true as possible, and I like the
irrelevant. CI A torture. I think a lot and often lyrical pressures applied to the telling
For instance, desire was obliterated about how linguistic and cultural op- to make sure that it holds.
when the fantasy of the “might have pression and repression might operate
otherwise been” was taken from me. upon me here in the U.S. I think a lot If Look was written from the space
When you lose desire and you’re thrust of it comes down to these subtler ways of war, where is Customs written
into this depressive stance, you lose of being collegial and being a good from?
language. The challenge of “Without employee, a nondisruptive presence Also of war. It’s all of war, and that war
Which”—and I guess this is where in the faculty meeting—all these ways is held in something else. Maybe it’s
the diagnostic comes back—became one is asked to comport oneself so that concentric circles? There is something
to name the nowhere that language one does not upset the rooms that one larger, or maybe it’s not even larger, but
was stuck in. My role is to name the finds oneself in. there is something else and there’s some-
brokenness of it, even though I know I was like, “Why am I doing this?” thing overlapping. There are infinite
it is an illusion. It’s not the job of the “Well, it makes for better writing.” others. Still, it remains of war.

43 POETS & WRITERS

 A road saga in two books
It’s all around the table, glad-handing on too many names to
remember and as many i.d.s. We laugh like honest men at a Rotary luncheon and shake
hands on our new business understanding, that it doesn’t mean shit, not one speck of it, because getting lost and
becoming someone else begins on the utterance of your very name. This is the roll call of resurrection morn. I’m
Buster. I sell microscopes. We pulsate on a single idea, which is that of recapturing in the next ten days what we’ve
missed for the last thirty years. We won’t discuss prospects lest we foul our luck. And because we don’t need to.
:KRZHDUHDQGZKDWZH·YHGRQHÁDUHVOLNHDQLWFKDQGZHDUHSRLVHGZLWKWKHELJEDFNVFUDWFKHU
 :KHUHWKHHDUO\\HDUVZHUHJLOGHGZLWKSURPLVHWKHPLGGOH\HDUVFRQÀUPWKDWWKLVLVLWZKDWLWDOOFRPHV
down to, what happened to us.
 :KDWKDSSHQVQH[WLVDÁXNHRIQDWXUHRUPD\EHLWZDVRQO\DPDWWHURIWLPH

Twenty years up the road. Buster Fetteroff is strong on buying power but short on love. He
DQG/DUUDLQHDUHÀWEXWJHWVHFRQGORRNVPRUHIURPRWKHUVWKDQHDFKRWKHU/HDGLQJVHSDUDWHOLYHVWRWKHIRUNLQWKH
road, they part on common sense and compassion.
Buster will seek the future on two wheels and a vague notion. Prior to departure, as a man might do, he impregnates
a client’s secretary and shoots the nosy neighbor. Escape gains urgency and meaning. A hash deal beckons up north,
so old friend Stuey can pay his debt and make the trip practical. Forks in roads are frequent, as the band of brothers
winnows to one. And it will come to pass, that a man on a chair by a river in a wood is lost or delivered.

The Modern Outlaws and Touch of the Unknown Rider by Robert Wintner. A road saga in two books will get you way
outa town with insight and wonder. Available now on Amazon–– eBook, paperback, hardcover and audible.
writers
A Practical Guide
to Starting a Group
of Your Own
BY MICHELLE WILDGEN

groups
RECENTLY joined a no-reading writers group. We
meet once a month to talk writing, publishing,
editing, teaching, and any other topics that arise,
from Scotland to pet rats. The only thing we don’t
do is share our work and discuss it. This no-reading
approach was not my idea, but I did enthusiastically
embrace it. (Actually, what I said was, “Not only do
I have no new writing to share, but I categorically
refuse to generate any.” I was having a bit of a dark af-
ternoon of the soul, from which I’ve since recovered.)
Anyway, the whole idea gets me thinking about just
how malleable the goals of a writers group can, and
should, be.
The first hurdle is finding your people. I tell my
writing students that half the reason to take a class—
be it a tight four-weeker on characterization, a free
library seminar, or an accredited university work-
shop—is to find the writers you enjoy and who
seem to get your work, with hopes of beginning to
build your writing community. (I’m still exchang-
CREATING A SPACE ing work with people from graduate school, and we

WHERE YOUR WRITING

graduated in 2002.) Nowadays an online meeting is as
viable as an in-person one, maybe more so for reasons

CAN THRIVE
of ease and travel, which makes online classes a great
option if you don’t live in a place with an abundance
of literary events. You can look into forming or join-
ing a group using a free tool like Poets & Writers
45 A Practical Guide to Starting a Groups (pw.org/groups), investigate your local library
Group of Your Own or bookstore for classes and reading groups, or find a
by Michelle Wildgen good place to post a notice for your own group. If you
are near a university or community college, you might
48 The Many Different Kinds of discover online bulletin boards, extension courses,
Writers Groups readings, book groups, craft talks, conferences, and
by Jessica Kashiwabara retreats for writers of all stripes: Show up, be an en-
gaged literary citizen, and keep an eye out for one or
50 Reenvisioning the Writers Group two people with whom you click. If you live far from
by Yona Harvey such possibilities, it might be worth traveling for a
weekend-long retreat or conference. Find your people
52 The Perfectly Balanced there and stay in touch as a group online. Ask around
Writers Group outside your writing circles too. Most of us know one
by Aimee Christian of those people who knows everyone else—try them
even if they aren’t a writer. And pay attention every-
53 A Former Pollyanna Learns the where: Just as you steal anecdotes from unwitting
Value of Critical Feedback companions, keep a raptor’s eye out for compatible
by Ashley Memory writers. Be patient. These things tend to follow their
own schedules, and you can start with just one partner.

45 POETS & WRITERS

 special sec tion writers groups

Once you have a few people in is less about accomplishment than room”). I like to stay with the workshop
your group, talk frankly about logis- temperament—an unpublished but trope of the writer’s not participating in
tics and what you all desire. I recom- passionately dedicated writer might the discussion until we’re done, unless
mend rotating meeting places, as the fit in with the intensity people; a well- they need to seal off a rabbit hole of factu-
pandemic allows, particularly if you’re published writer in need of a change of ally incorrect discussion by saying some-
meeting at group members’ homes, so no pace or a break from their usual genre thing like “Actually, Rory is not a ghost.”
one feels unduly put upon and everyone might find that relaxed group just the Open the floor to the writer after discus-
has to pony up for tea and seltzer every thing. I know a few expert writers (in sion, but consider doing so with pointed
few months. (Maybe it goes without poetry and fiction) who hired someone questions like “What’s still getting under
saying that if you have never met your to run a regular meeting on the essay— your skin about this piece? What are you
new group, don’t start off at your homes she gives them prompts and feedback, trying to figure out?” That time is for the
but at a coffee shop or library meet- and they get to branch out into a genre writer to ask specific questions we didn’t
ing space.) Don’t bother with snacks, they hadn’t focused on before. Before focus on, to clarify confusing feedback.
which just become another thing to you all commit, have a frank conversa- It’s not their chance to explain their work
worry about. Keep your group on the tion about your writing goals, and don’t at length—the place to do that was the
smallish side. I limit my workshops to pretend to share them if you really have work itself.
eight writers plus me, and for a writers other needs for your group. You get back what you put into a
group, three to six might be the sweet Decide on feedback expectations writers group. You’d be amazed how
spot. I’ve never worked in a group with ahead of time. Line edits and margin often we forget that. I’ve seen writers
a designated leader, but some groups do comments? Just an editorial letter? Ver- who never read others’ work but then
appoint someone to run each session. If bal discussion only? I recommend keep- wondered why they got little feedback
you think you have a leader who won’t ing feedback focused and simple: Vote on their own; writers who made not even
become drunk with power, it might work yea or nay on marginalia, and limit writ- a cursory effort to modulate their tone
beautifully. You might rotate this role: ten feedback to a page or two of specific and then were deeply offended when
One month someone has to share their notes. I do recommend some form of they received, shall we say, retributively
own writing, while another person has written commentary though. It forces honest feedback on their own work. But
to share a published piece and lead the readers to articulate their points and mostly what I see is writers taking a mo-
discussion of it, and so on. focus on the most important ones, and ment to think about what helped their
It may not be crucial that everyone frankly it helps the writer recall all the writing and doing their level best to offer
work in the same microgenre, but feedback when they return to the work the same to others. Experienced or not,
you need some clear commonality. Be a week or two later. people generally rise to the occasion.
honest with yourselves about the kind How about the discussion itself? Es- Now let’s talk punctuality. You must
of work you all connect with and on tablish how long you will talk about never underestimate the teenage sloths
which you have insight. Are you really each piece and then designate a rotat- lurking inside even the most capable
as sharp a reader of cozy mysteries as ing timekeeper to keep it all equal. adults. Honoring the group’s estab-
you are of spindly, demanding literary How many works will you discuss at each lished timeline is nonnegotiable. I am
architectures? Maybe the picture book meeting? This may change as you get telling you from long workshop experi-
group needs to splinter off, and the YA a feel for your group, which is fine too. ence that the very nanosecond someone
novelists can do the same. Don’t assume everyone knows the blows a deadline, heads of state and cap-
Even more important than genre conventions of workshops or wants to tains of industry will be powerless to stop
is a companionable level of writ- stick to them, but here are a few to con- the switch in members’ brains that tells
ing commitment. There is absolutely sider. Conversation doesn’t have to occur them now they too can send half-drafts
nothing wrong with a group of writ- around a table, as long as you can all face with lots of “[plot twist TK]” the night
ers who have no desire to publish the one another. Life is a lot nicer for every- before the meeting. I am a humorless
work they share each month, nor with one if you start by going around the circle martinet about deadlines for this reason.
a group of cutthroat professionals who to say what you loved before opening up You should also consider t he
have spreadsheets of their awards and the floor to free-flowing discussion. No method by which you share your
reviews, but I say don’t mix them. This interrupting the speaker, of course, and work. I was once in a group that only
remind everyone that you are not evalu- read work aloud at the table and com-
ating the people in the story on personal mented right in the moment. I respect
M I C H E L L E W I L D G E N ’s fourth novel terms (“Rory’s a jerk”), but rather on craft this idea and its ability to help fresh new
will be published in 2023 by Zibby Books. terms (“I could not tell why it was impor- work find direction without drowning
She is the cofounder of the Madison tant to the story that Rory always kick it in feedback, and yet I also learned it
Writers’ Studio in Madison, Wisconsin. someone in the shins before he leaves the was not quite right for me. Just as with

MARCH APRIL 2022 46

 special sec tion writers groups

the no-reading writers group, you may the hope of offering feedback that will group I was ever in? Even that lovely
have more flexibility than you thought help your fellow writers realize their group no longer meets. People left
to consider a few offbeat approaches. ideas, whatever they may be. At the town, changed jobs, and shifted focus.
The most successful group I’ve ever same time, don’t be too precious, people. It just changed. That’s a key too—a
been in comprised six female novelists You’re doing this to be better writers, in writers group’s marker of success is not
(some of us also write poetry and nonfic- whatever way you define that. Be hon- solely publication, nor solely longevity.
tion but not for this group). We all have est with yourself, not only in offering Sometimes a group does exactly what
different styles, and some of us have feedback to others, but in considering you needed it to—just not forever.
written one book, and others a dozen, the feedback you receive. Lack of time and energy might be the
but we were all interested in fiction that This is another reason for an explor- biggest obstacles of all. We are adults,
examined relationships, generations and atory session or two before you decide if with jobs and kids and gardens and the
families, and careers. We met on an ad the group will work for everyone. Why occasional pet iguana we swore we’d
hoc basis, reading one another’s book not stipulate that the first few meetings never agree to, and the easiest thing
manuscripts once they were ready, and are just to see if it works, and then you in the world is to let all your creative
debated how to handle agents, editors, can all decide on committing? Particu- work dissipate while you focus on laun-
cryptic feedback, and the heart-attack- larly if you don’t know one another well, dry and spreadsheets, which at least get
inducing stress of submission. At the consider easing in with a few smaller tangibly done someday. But if you are
end of this group, every one of those pieces or discussions of published teetering on the brink of skipping writ-
books had been published. We met for a work before you all hand out your ing to do online jigsaw puzzles, maybe
celebratory dinner and toasted our pro- full manuscripts. Maybe everyone can you can keep your sanity and your
ductive work together. We even let the bring a favorite essay or story to that practice by adjusting your approach.
husbands join us. first meeting, and each of you can read Meet every other month, with writers
I have also been in groups that did a page aloud and talk about what you scheduled to turn in work well in ad-
not make it past a few meetings. Have love in its language and storytelling. I vance and with long-term deadlines
you ever tried gathering people from all start workshops by asking what people to guide them? Shorter page counts?
five New York City boroughs and West- do in their non–writing lives, what their More curated feedback formats, like
chester on a regular basis? It’s a little like involvement with writing has been, and “One or two things that are working,
knitting while the wool is still attached what piece of writing made them want one or two specific concrete suggestions
to an energetic sheep. We tried, but the to write themselves—a very different and reasons why” or “One good, one
endless train rides and subways got the question from “What’s your favorite bad, one prompt, one question”? If you
better of us quickly. Nowadays we would book?” These early meetings are also a have a lull in new pages, read a book and
meet over Zoom, and we would likely good time to hash out submission and discuss it from a craft standpoint for a
still be meeting. meeting schedules and put them all month or two. Don’t cancel the whole
I know this because one of my writer into your phones then and there. Make meeting because one person can’t make
friends still meets with her writers it consistent and easy to remember, like it—it just isn’t reasonable or realistic.
group, even now that she lives in Dub- the first or last Saturday of the month. A dose of flexibility will take you
lin and the other two are still in Seattle. Even after all of this, you may face far. I know this thanks not to a writers
She has to get up at 4:30 AM to make it the delicate problem of the group that group, but to my weekly dinner party.
happen, and things get cranky on those doesn’t gel. A carefully worded, noncon- This party happens with four families
days (I get the e-mails), but these are her frontational chat with a difficult member every single Wednesday barring holi-
people: Their feedback styles mesh, they might fix everything, but some groups days and pandemics, and it met the first
all know one another well, and they have prefer to disband and then discreetly re- time not because we thought we would
found a schedule that is equally incon- form as a smaller one a respectable while start an ongoing routine, but because we
venient to all. This three-person group later. (Suddenly I am gripped by fear that were all scared and sad and we needed
is more than twelve years old, they all I have left a trail of re-formed groups fellowship. (It was a Wednesday early
have different editorial strengths but all in my wake.) Obviously we should be in November 2016, if you must know.)
work in some channel of YA, and they self-aware and graciously withdraw if But we found right away that if we split
allow everyone to be brutally honest our erotic space adventures don’t find up meal duties, rotate venues, use text
with feedback. purchase, but offenders are offenders threads robustly for planning, have the
This brings me back to the question because they lack self-awareness. If you occasional tricky conversation with care
of compatible workshopping styles. It is accidentally invited one of these mon- and honesty, and don’t worry if a dish
easy to quash a nascent idea, so be care- sters into your group, a break and re- kind of flops or a person misses a week
ful whom you give it to—and be careful formation may be the simplest option. here and there due to Life, we could do
with others’ ideas as well. Arrive with Remember the most productive this thing…well, indefinitely.

47 POETS & WRITERS

 special sec tion writers groups

The Many Different Kinds

of Writers Groups BY J E S S I C A K A S H I WA B A R A

W
is a solitary act. As
R I T I NG finding a writers group might happen (California), Eastern (New York), and
a writer, you’ve likely heard, naturally by meeting writers through Central European (Spain). Because they
or possibly even said, some workshops, conferences, or MFA pro- write nonfiction, there is a special em-
version of this statement to grams. For others, the opportunity to phasis on privacy and trust, and feed-
explain the process of sitting alone at meet like-minded writers can be more back on each piece is an open dialogue
a desk, figuring out how to translate challenging. and discussion. Another important fac-
what’s in your mind onto a screen or To assist and support those writers, in tor for the group is that the members
paper. If you flip to the last pages of March 2021, Poets & Writers launched share an ambition to publish their work
any book, however, there is almost al- a free online platform that enables the and have a certain level of experience
ways an acknowledgements page filled kind of connection crucial to a success- with submissions so they can be strate-
with a list of fellow writers to whom ful writers group. Using Poets & Writ- gic in their collaboration. “We set goals,
the author is grateful for reading early ers Groups (pw.org/groups), writers can follow up with each other about them,
drafts and offering support and advice seek out existing groups indexed on the and share resources and opportunities
along the way. Evidence there is a com- site or create their own group and invite that might be better for another mem-
munity behind those printed words. others to join. The only requirement ber than ourselves,” says Cutler.
Consider the famous literary circles in is to create a free writer profile, which A lthough there is an element of
history such as the writers of Stratford- includes details about one’s writing workshopping, Cutler emphasizes that
on-Odéon, including F. Scott Fitzger- experience and preferences for a writ- sometimes only a “vote of confidence”
ald, Ernest Hemingway, James Joyce, ers group, such as meeting in person is needed for a writer to work toward
Ezra Pound, and Gertrude Stein, who or online, frequency, genre, and group a final draft to submit for publication.
frequently met at Adrienne Monnier’s size. With a profile, writers can then If members don’t have a written piece
la Maison des Amis des Livres and message one another on the platform, to discuss, they bring in ideas, simi-
Sylvia Beach’s Shakespeare and Com- whether it’s just to connect or to send lar to a pitching session in a writers
pany bookstore in Paris to discuss their an invitation or request to join a group. room—a familiar space for Cutler,
work and share ideas. Or the South During the development of Poets & who has developed and adapted non-
Side Writers Group in Chicago, with Writers Groups, I was part of a small fiction stories as a screenwriter. This
members such as A rna Bontemps, team that brainstormed potential ways could lead to suggestions for experi-
Frank Marshall Davis, Fenton John- writers might want to use the platform; mentation with new essay forms or
son, Marian Minus, Margaret Walker, we came up with a list of terms to repre- supportive conversations on writing
and Richard Wright, who convened at sent different types of groups, including about difficult subject matter. “When
the Abraham Lincoln Centre to dis- accountability partners, critique, discussion, you can bounce ideas off of each other
cuss their ambitions as Black writers. If encouragement, inspiration, reading, sub- in the earliest stages, talk through top-
writing is a solitary act, being a writer missions, tips, workshop, and writing exer- ics that have personal trauma attached,
certainly isn’t. cises. As of this writing there are over a demystify taboo subjects, you have a
Writers need writers. And there are thousand individual profiles and nearly better chance at finding your voice
many ways to help one another’s prac- a hundred groups on the platform. when writing about them,” says Cutler.
tice. Some writers might need a criti- Michelle Tamara Cutler leads a Before the pandemic, Lynne Con-
cal eye for their work, some could be group on Poets & Writers Groups nor, a former assistant in the Read-
looking to bounce ideas off one another, called From Pitch to Publication, which ings & Workshops program of Poets
while others might just want support meets monthly to workshop nonfiction & Writers, was running in-person
to keep their writing going. For some, pieces, discuss projects, and help find workshops in Brooklyn, New York,
outlets to submit work for publica- through her literary arts space, Lost
tion. The intimate group, consisting of Lit. When the city’s 2020 lockdown
J E S S I C A K A S H I W A B A R A is the digital only three writers, meets online from extended into months, Connor had to
director of Poets & Writers, Inc. three different time zones—Pacific give up the lease on the rented space for

MARCH APRIL 2022 48

 special sec tion writers groups

Lost Lit and put a pause on running her has recently begun to meet in person over three hundred members in Los
workshops. Still, the bond she shared again at small, locally owned busi- Angeles and twenty-seven additional
with these writers was strong, especially nesses in East Austin such as coffee chapters in the United States, as well as
with those who participated in her grief shops and restaurants. Writers work- one in Mexico and another in France in
writing workshops, and Connor wanted ing in all genres are accepted, and the works. The flagship group in Los
to find a way to continue writing as a members include poets, prose writ- Angeles also hosts quarterly workshops
group. “I missed coming together in a ers, screenwriters, and songwriters. and panels on aspects of submitting,
supportive environment,” she says. “I Meetings begin with twenty minutes publishing, and cultivating a writing
write my best raw, emotional work by of freewriting from a prompt curated career as an extension of their mission
writing with others.” by Ayala, and members can opt to to empower women and nonbinary
A group of six writers from Connor’s read their work, but there is no cri- writers to submit their work for pub-
workshops agreed to begin meeting tiquing. “For me the writing prompts lication. While W WS isn’t a writers
once a month via Zoom. Each meet- are designed for each person to expe- group per se—“The term implies we’re
ing started with a check-in to see how rience writing as a place of play,” says meeting to workshop or write; we’re
everyone was faring through the pan- Ayala. “When we share our stream of more like a writers support group,” says
demic, and then the group was given consciousness writing, we are able to Bermejo—it is another example of the
ten to fifteen minutes to write from support one another through vulner- myriad kinds of groups writers can look
a curated prompt. Members could ability and experimentation.” to for community.
then read their work, but it was not Critique is reserved for the second Despite the growth of Women Who
required. Only positive feedback was part of the meeting in which three Submit, the sense of support and in-
given, with emphasis on encourage- to four writers, who submit t imac y has not been lost:
ment and a focus on the craft of writ- their works of poetry and Submission parties still
ing. “The mix of having a prompt and prose to be read ahead consist of small groups
the time limit, then the boost in my of t he meet i ng, IF YOU’RE A WRITER of writers meeting
writer’s self-esteem from the positive
feedback—it’s just the right ingredi-
have their pieces
workshopped.
FEELING STUCK AND online or in physi-
c a l s p ac e s s uc h
ents,” says Connor. “It made the pan-
demic bearable.”
Ayala caref u l ly
st r uct u res t he
A LITTLE TOO BURIED as loca l cof fee
shops. A not her
Many writers groups are small and
intimate, but there are also examples
traditional M FA
work shop -st yle
IN SOLITUDE, aspect that hasn’t
cha nged is t he
of larger groups that are open to new d isc u s sion w it h THERE IS A GROUP OUT encouraging, up-
members. The East Austin Writing guidelines so that lifting atmosphere.
Project run by Marissa Anne Ayala writers give and re- THERE FOR YOU. “W hen we meet in
is a public group that uses Meetup to ceive constructive and person to submit in real
organize meetings. The group, which specific feedback. Members time, we clap for each other
is primarily focused on supporting are encouraged to consider how when we hit Send,” says Bermejo.
writers and artists in the East Austin best to help each individual writer and “It’s the best feeling to hear a roomful
neighborhood of the Texas capital, was use the process to push forward their of writers clap for you. We also clap for
founded in 2018, managed by James own artistic endeavors. “My goal with being rejected. We celebrate every part
Morena, and is now led by Ayala and the East Austin Writing Project is to of the publication process.”
Julia Bouchard. With more than six truly create community through the Whether it is about writing together,
hundred members, the East Austin practice of writing as a collaborative sharing resources, or cheering one
Writing Project caps each monthly act that brings together diverse per- another on, participating in a writers
meeting at seventeen members who spectives, people, experiences, and group expands the experience of being
sign up to attend—and there is usu- art,” says Ayala. a writer and of the writing process. If
ally a waiting list of about ten writers Xoch it l-Ju l isa Ber mejo, A ly s s you’re a writer feeling stuck and a little
who may join the following month’s Di x son , a nd A sh a k i M . Jac k son too buried in solitude, there is a group
meeting. Some members consistently founded Women Who Submit (WWS) out there for you. And if you don’t find
attend each month, while others flow in Los Angeles in 2011 as a response to one that suits you, make your own. As
in and out depending on their proj- the lack of gender diversity in the pub- Cutler says about the support she re-
ects and schedules, but there is always lishing industry. What began as a small ceives from her writers group: “We are
a strong sense of community among group of women writers hosting sub- all taking our writing lives out into the
the writers. At the start of the pan- mission parties at one another’s homes open; it helps to have people you can
demic the group met virtually, but it has grown into an organization with trust in your corner.”

49 POETS & WRITERS

 special sec tion writers groups

Reenvisioning theWriters Group

BY YONA HARVEY

I
F YOU ’R E like me, the only thing them already, possibly from writers She opened by reading two or three
more difficult than struggling to groups past. poems, which created a ritual that at-
revise a draft that’s stalled is strug- If a writer is lucky enough to in- tuned us to the present. By the time the
gling to revise someone else’s draft tegrate these three groups into their first poem was recited, the tone for the
that’s stalled. Let’s face it: Reading writing life, they’ve hit the jackpot. evening had been fully set. Next, Deb
other people’s writing for the sole pur- Still need convincing? Allow me to gave us two short prompts. The first
pose of giving them feedback or, worse, elaborate on each and how creating was about two or three minutes long
“fixing it” is taxing. Hence I don’t often your own version might help. and prompted a catalogue or list. The
recommend writers groups. This ad- On Opt ion 1: In 2000 t he poet second lasted about five minutes and
mission may sound contradictory to Deborah Bogen founded a foolproof resulted in a run-on sentence. These
anyone who has heard me gush over my writers group, which she hosted in her prompts relaxed my mind and allowed
current writers group, with whom I’ve home until 2015 when another writer me to let go of any attachment to per-
been meeting since roughly 2010, three took it over. The meetings began in fection or performance. There was no
years before my first poetry collection Deb’s Pittsburgh kitchen, where a heavy pressure to write the next great poem
was published. But this writers group kettle sat on the gas-burning stove, but simply to get something down on
succeeds where others have failed be- warming the water for tea. Serving tea the page, maybe something I’d been
cause it’s generative rather than criti- was ritual. As I stood near the stove on carrying all day or all week but hadn’t
cal and is respectful of everyone’s time. my first visit, deciding which teabag to fully accessed. The third step was writ-
We do zero “workshopping” together plunk into my cup, the stressors of the ing a longer response—and in this case
and focus instead on what’s working in day, the roadblocks, the last-minute Deb invited us to continue or expand
everyone’s writing and on showing up back-and-forth about whether to even whatever ideas had surfaced in the first
for one another each week. show up all faded away. In the moment short prompts or to pivot and move to
We’re sometimes told that a work- the most pressing questions were: another idea or topic. The catalogue
shopping writers group will give us chamomile or blood orange? Black or and run-on sentence requirements
multiple perspectives on our writing green? By the time I’d decided, every- were dropped.
that will help move it forward. But thing that seemed to keep me from the At the end of those thirty minutes
honestly I’d suggest avoiding a multi- writing I loved to practice had dissi- of writing, we’d take turns reading.
tude of takes on one’s writing. As the pated. After each recitation the group would
adage goes, too many cooks spoil the That brief kitchen gathering also respond by calling out a few lines that
broth. That said, I’d offer three writ- permitted us writers to quickly greet resonated with them. Recently I asked
ers group options that can enhance and and check in with one another. Banter Deb via e-mail why she chose this ap-
support your work over many years: was minimal and didn’t feel burden- proach rather than a typical workshop
(1) a long-term, generative writers some. Time passed not by the clock’s format or some other method of cri-
group that focuses on accountability hands but by the fading temperature of tique. “What we ignore (the less good
and what’s working in your writing, one’s teacup. After everyone’s tea was bits),” she replied, “will fall away over
(2) a short-term writers group of three steeped, we transitioned to the tune time. We need to notice and hear what
readers who can rely on one another of Deb’s quick “Okay” and settled in is strong.” Deb calls this method “ex-
for targeted, critical feedback, or (3) circlelike formation on the living- ploiting atrophy.” Part of my love for
one or two trusted readers to whom room sofa, on lounge chairs, or along this writers group style comes from
you can quickly turn in a pinch—most the floor, where unbeknownst to me, Deb’s approach. Learning to recognize
likely you’ve built a relationship with I would sit for many more gatherings, and develop my strengths has helped
comfortable with my back against the me grow as a writer. The poet Doug
wall and notebook ready. No one used Anderson of Claremont, California,
Y O N A H A R V E Y ’s most recent poetry a laptop; we all wrote by hand. After introduced Deb to this kind of writ-
collection is You Don’t Have to Go to Mars a few short weeks I understood why ing practice around 1997. Back then
for Love (Four Way Books, 2020). She Deb’s format worked, and I continued Anderson would lead the group and
also cowrote the Marvel series World of coming back. invite Deb to substitute whenever he
Wakanda and Black Panther & the Crew. First, Deb kept the group on task. needed a break from leading.

MARCH APRIL 2022 50

 special sec tion writers groups

“Sometimes it takes another writer mind to work in the [weekly group] in On Option 3: Every writer can bene-
to say, ‘No—you have some good stuff the very same way you train a puppy to fit from a targeted exchange with some-
here to work with,’ before we are willing pee on the paper,” Deb says. “It’s not one who knows their work well and who
to give our own writing a chance,” Deb glamorous—just effective.” can provide them clear feedback. Often
says. That makes sense. How often have On Option 2: If you’re confident we come to know these trusted readers
you heard a writer shout out a beloved about generating new work on your from various encounters—high school
high school teacher or mentor who told own and you’re not fond of writing or college friendships, writers retreats,
them their writing had promise? Fewer prompts, a short-term writers group community writers groups, MFA pro-
are the writers who were inspired be- with targeted focus might prove the grams, and so on. My go-to person is
cause someone said their work was better choice for you. Later in my ca- the poet Douglas Kearney, with whom
awful. Sometimes writers groups can reer I participated in this kind of group I’ve been exchanging work since he and
get caught in the rut of “keeping it real,” with poets Toi Derricotte and Sheryl I were undergraduate students. Differ-
becoming an echo chamber of every- St. Germain. Each of us had published ent readers have shuffled in and out of
thing that’s wrong with a piece. That books of poems and felt comfortable orbit, but Doug remains constant. We
feels like workshop territory. with our work and with the work of one can turn to each other in a pinch be-
“Since we are so prone to negativ- another. Back then we were all teaching cause we’ve literally read each other’s
ity about our own work,” she says, “I while drafting nonfiction projects and writing at every stage of our writing
tried to combat that with no negativity struggling to carve space to write for lives. Often these are reportage (proj-
in the group. For example I am always longer periods of time. We decided to ects we’re planning or working on) and
too wordy in my first drafts. That’s take advantage of our winter, spring, read-alouds. We don’t do “line by line”
okay, and I can fix it easily in rewrites. and summer breaks. We t ypically or close readings unless we’re in com-
It would be counterproductive to call met at one another’s homes for three pletely new territory (experimenting
that out on a weekly basis—at best it consecutive days, 9 AM to 5 with different media, genre
would waste time; at worst it would PM. We cut off wireless hoppi ng). There’s no
undermine my confidence.” access, wrote in sep- AT THE END OF THE competition, and if
Thinking of writers groups past, I arate rooms, and there’s tension at
can’t say my confidence was always un- minimized host- DAY WE’RE RESPONSIBLE FOR all it usually has
dermined as a participant. But I recall ing. The “host” to do with creat-
feeling consistently frustrated about had coffee, tea, SIFTING THROUGH THE NOTEBOOKS, ing the time and
mismanaged time. Often there was and a few scant space to chat. If
simply too much socializing—fussing snack s ava il- THE COMMENTS, AND THE you have a reli-
over snacks and drinks, catching up able, but oth- able reader, do
about work and personal lives, and pos- erwise, we each FEEDBACK AND LEARNING TO TRUST everything you
sibly even delaying discussions about a packed our own can to nurture
piece that wasn’t very strong. Simply meals. We wrote AND ARTICULATE OUR OWN and reciprocate
put we didn’t give enough attention to f rom 9 A M to 3 your relationship.
our writing, which was the reason we PM a nd t hen read VISIONS FOR OUR WRITING. If you’re not t here
had gathered in the first place. If the what we’d generated yet, try experimenting
demands of a full-time job and other (or in some cases revised or with some version of a writers
responsibilities have you pressed for edited) from 3 PM to 5 PM , offering group until you find that person.
time, if you want to host people writ- suggestions and ideas about where the Even pinpointing someone with
ing at different stages of development, pieces seemed to be going. We headed whom you ca n excha nge w r it i ng
or if you and your fellow writers are home at 5 PM , sharp. As with Deb’s prompts or word-count goals from a
working in different genres, Deb’s ap- group, knowing that we’d be reading distance can be helpful. Dozens of “ac-
proach might be perfect for you. You’ll to one another at the end kept us ac- countability groups” have been cited
be introduced to new writers during countable and focused even though online in recent years. Deb’s writ-
the opening recitation and generate we wrote at our own pace without any ing prompts always included a brief
several pages of new work. And even prompts. This method is also great for list of words or phrases Deb printed
with as many as nine participants, the writers who trust one another, work in and handed to us before the twenty-
writing session typically lasts about the same genre, and have a targeted minute prompt began. She invited us
two hours. Most of all you’ll train piece they’re aiming to draft, revise, to incorporate three or four of these
yourself to show up—for your group or complete. I wouldn’t recommend it phrases into our writing. Sometimes
and for your writing—consistently. “I for writers at radically different stages the words were taken from the open-
used to think that I was training my in their writing. ing poems she’d read. Other times they

51 POETS & WRITERS

 special sec tion writers groups

came from science or food articles that didn’t matter. can write our books for us. At the end
offered us an alternate language— “This way of writing,” Deb recalls, of the day we’re responsible for sift-
something to help us transcend our “free-handwriting with prompts [and] ing through the notebooks, the com-
typical habits or word choices. A poet a few distractions thrown in, worked ments, and the feedback and learning
might begin the framework for a poem, well for me and helped me write my to trust and articulate our own visions
and a fiction writer or essayist could first two books.” The same was true for for our writing. It’s a solitary practice
begin the framework for a scene or me. But I hope it goes without saying that writers groups can help us disrupt
story. The genre of writing honestly that no writers group on the planet and navigate less fretfully.

The Perfectly Balanced

Writers Group BY AIMEE CHRISTIAN

I
GOT kicked out of the first writers They exchanged dubious glances. our exchanges peter out because of the
group I ever joined. “Eh,” they agreed. “There’s really kids and work, always saying, “I miss
I answered a Craigslist ad back in nothing to it.” our sessions. Let’s get together soon!”
2001 and exchanged a few reply-all My writing was dark and full of My writing didn’t improve from our
e-mails with strangers. I felt hopeful self-pity. It was helping me cope with swaps. Hers may have, but it certainly
as I trudged through New York City’s the complexities of being an adoptee wasn’t because of me.
snowy St. Mark’s Place to a stuffy, reuniting with my birth mother. It It was time for some writing classes.
overcrowded café on Avenue A and was a lot to process, and I had little Having relocated to the Boston area,
Tenth Street. I tried to appear knowl- self-awareness. All these years later I’m I looked to Gr ubSt reet’s memoir
edgeable when the others, all N Y U still not sure what got me kicked out courses. I submitted my favorites of the
grad students, talked enthusiastically of the group after just one meeting. pages I’d made my poet friend read. I
about their work. I was an avid writer Instead of an editorial letter or expla- sat in the cone of silence, as per that
too but only in my journal. nation, they had one guy dump me via gag rule for a writer being critiqued
They’d chosen me because I’d already text message. I was so humiliated that that was standardized at the Iowa
finished grad school, but I disappointed I didn’t try to write again outside of my Writers’ Workshop a lifetime ago. I
them quickly. I had studied ancient lan- journal for almost a decade. listened while everyone else picked
guages; I’d never taken a writing class In 2010 an old friend and I became apart my words. I realized that while
before. I didn’t know what workshopping writing partners. We’d met on Live- I was finally learning to workshop the
was. But I was a quick study, I promised. Journal in the nineties and had stayed way the academy taught, the way the
“Explain like I’m a little kid,” I said. close. She lived in San Francisco and academy taught did not feel inclusive.
“I’ll learn fast.” was a poet. I still lived in New York City I wanted to be able to explain myself
and was a would-be memoirist. On and in workshop because if I could, then
off for about five years, we’d swap tenta- my peers could help me explain myself
A I M E E C H R I S T I A N writes creative tive pages. She wanted to self-publish better on the page. Still, I was inspired
nonfiction and essays about identity, chapbooks. I wanted to publish essays and motivated to write more and bet-
adoption, parenting, and disability. Her and articles and work my way to tra- ter because I was starting to feel like
writing has appeared in the New York ditional publication. We didn’t under- part of a community of writers. I had
Times, the Washington Post, Pidgeonholes, stand each other’s genres. We met on peers now, and we respected one an-
Entropy, and other publications. She Skype and congratulated each other for other and one another’s work even if
reads creative nonfiction for Hippocampus being brave and writing pretty lines. I the paradigm we were coming up in
Magazine and is an instructor at pointed out her improper use of punc- needed to shift.
GrubStreet. She is currently working on a tuation; she doggedly flagged my sen- Fourteen years from the dump text
memoir about adoption and identity. Her tences that began with conjunctions. and five years from the first page swap
website is aimeechristian.net. The time difference was tough. We let with the poet, I was published for the

MARCH APRIL 2022 52

 special sec tion writers groups

first time, in 2015. When I’d finally be direct and honest with one another. send a mortifying breakup text than
published more than just a handful of So if someone needs or wants to bend set clear guidelines and offer straight-
essays and written the draft of a book or break a different rule or something forward feedback. So is quitting writ-
in GrubStreet’s yearlong intensive else isn’t working well, we discuss it. ing out of humiliation or resentment.
memoir class, I was ready to buckle We leave time in every meeting for I tell my students about my group now,
down and edit my manuscript. I de- discussion, so it’s built in. Part of our and some are amazed. I get it. Direct
cided to form a writers group myself. process. communication is not for everyone. It
This time around I knew I didn’t The group is diligent about this so takes hard work to speak up.
want to deal with anyone like the we can concentrate on the writing. The When Barack Obama was president,
twenty-eight-year-old Aimee charac- structure gives us the space to be serious he had a plaque on his desk that said
ter. My wise narrator still didn’t like about our work. Even when our skins “Hard things are hard.” I love this
how I was dumped but knew I hadn’t are not thick, we act as though they are phrase and say it to myself whenever
been ready for a writers group with because we are here to be pushed, not I have to do something I know will
a bunch of MFA students. I’d begun to be complimented. We come right out be difficult. Taking critical feedback
to forge strong connections at Grub- and say the thing. We say it bluntly but when it comes to my personal stories,
Street, especially among those whose with love, and we do our best to receive my pages, my darlings might be the
experiences in workshop mirrored it with love, because that’s what we want hardest thing in the world for this
mine: those who loved the community for ourselves when it’s our turn. Every writer. I know of nothing more diffi-
but agreed that the workshop needed time we meet, there’s good news: pub- cult, except for giving critical feedback
to evolve from the traditional model. lications, agents, now a book deal (not to another writer about their personal
These were the people I asked first. mine)! stories and pages. But for me both are
I soon had a critical mass of like- Through my website I teach a one- easier than facing—or letting writ-
minded folks. We began with a series day class on starting and improving ers I love face—harsh comments or
of surveys and planning meetings to writers groups, and people are always criticism that might’ve been avoided
lay a strong foundation. The group telling me about problems not dissimi- through early feedback. The end result
structured submission deadlines, page lar to those I experienced in my first is that my workshopping has become
limits, attendance, and other logistics. and second groups. I’m not the only more meaningful and my writing is
We abolished the cone of silence, opt- one who found it so much easier to say, improving—and I know I have my be-
ing instead for questions and open dis- “Your lines are so pretty, your writing loved writers group, my poet friend,
cussion in workshop. And the rule we is so brave” and correct conjunctions Obama, and even those NYU students
never, ever break is that we’ve agreed to and punctuation. It’s also easier to to thank for it.

A Former Pollyanna Learns the

Value of Critical Feedback
BY ASHLEY MEMORY

I
REALLY appreciate your positivity,” other week—was an honor. I met both little group eventually drifted apart, I
said my friend Bonnie, after a few women at a writers conference, and we still cringe when I think of those meet-
meetings of my very first writers bonded over a love of Southern writ- ings and the opportunities for deeper
group more than twenty-five years ers such as Eudora Welty and Carson engagement we lost. I couldn’t be hon-
ago. “But I hope you’re not holding McCullers. However, both Bonnie and est with Bonnie and Sandra, and I’m
back. Sandra and I welcome construc- Sandra taught college-level English, sure they hesitated about being truthful
tive criticism.” and frankly these grammar doyennes with me, afraid of hurting my feelings.
To be invited to join such an exclu- intimidated me. When they shared Now I realize that no one gets better
sive group—just three members, who their work I tended to overflow with that way.
gathered in Bonnie’s sitting room in praise, insecure about voicing more I n subsequent years I read and
her charming Victorian home every critical observations. Although our absorbed more work by celebrated

53 POETS & WRITERS

 special sec tion writers groups

authors, took many classes, and started unusually creative metaphor she uses shouldn’t.” When making suggestions
submitting and publishing my writing, to describe her protagonist’s state of to the writer, preface them with words
actions that gave me new insights into mind. And as I recommend that a poet such as “I recommend” or “consider.”
craft that succeeded. This boosted delete a confusing line, I find myself
my confidence, and I felt more com- inspired by her dogged persistence to Remember the Golden Rule. Give
fortable offering candid assessments continue to revise the same poem so the kind of guidance you’d most like
in later writers groups. To my great many times. to receive. As my writing buddy Ruth
relief no writer fumed or appeared to Offering constructive criticism isn’t Moose, an award-winning novelist,
take my feedback personally. In fact, easy, but this former Pollyanna now short story writer, and poet, says, “One
they actually thanked me for it. What knows that honest and heartfelt advice should never leave a meeting feeling
surprised me the most, however, was is the ultimate compliment. It shows shredded or depressed, but with an at-
how much critiquing others improved that we read our fellow writers’ work titude of ‘back to the drawing board.’
my own work. carefully and feel vested in their suc- Be honest but be kind.” Rather than
When I first started evaluating the cess. Here are some pointers that might making sweeping comments, refer to
work of my peers, I focused on nar- help you give the kind of feedback specific passages with actionable advice
rative elements I grasped more easily, members of your writers group most that inspires, such as “These charac-
such as characterization, description, need from you. ters are fascinating; in fact, I’d love to
and conflict. Identifying weaker spots see an additional scene between the
in other writers’ work and suggesting Ask questions about what your fel- protagonist and her sister” or “Your
ways to improve them helped me spot low writers need from your critique. reflections are my favorite part of this
and repair my own deficiencies more What is your goal with this piece? What are essay. Consider sharing more of your
quickly. For example, if I encouraged you seeking—big-picture advice, line edits, vulnerability.”
another writer to try to use all five or simple proofreading? Finding out what
senses in her descriptions, I redoubled sort of comments a writer wants is fun- Offer to read a revision. Not every
my own efforts to do the same. And damental to delivering the most helpful writer feels comfortable submitting re-
if I advised one writer to increase the advice. Writers presenting a first draft visions of the same piece, as they may
tension in a scene, I made sure that my may want to know if their story is com- worry about taking up too much of the
work teemed with conflict in all the pelling and keeps the reader’s attention. group’s time. But I welcome additional
right places. Providing honest feed- They may not be interested in pickier rounds, whether or not my suggestions
back based on my interests in turn things often found during later drafts, are incorporated. Reading revisions
brought helpful recommendations when a piece is more polished and ready exposes writers to the delicate art of
from writers with expertise in differ- for submission. coalescing suggestions from different
ent areas, such as grammar, continuity, points of view, yet another learning op-
and conclusions. Start on a positive note. There is a portunity. And later, when a member’s
My two current groups include a reason so many nonwriters stand in story, essay, or poem is published, ev-
mix of fiction and nonfiction writers awe of those of us with the pen: It takes eryone celebrates because they remem-
as well as poets. Reviewing work from courage to put your most intimate ber the piece in its most formative stage
such a diverse talent pool offers end- thoughts on paper and share them with and feel like part of the writer’s journey.
less learning opportunities. For ex- the world. This is why it’s crucial to let
ample, while counseling one writer on your peers know early on that you’re on Reciprocity fuels the fires of an ef-
how to tighten the theme of her essay, their side. Commending a writer for fective writers group, and it continues
I can’t help but admire her vivid verbs. tackling a difficult subject or trying a to open new doors for me. Last year I
As I suggest ways to improve the flow new technique, for example, builds a wrote a creative nonfiction essay about
in a paragraph of another writer’s bridge to more critical feedback. a thrift store lamp that I’ve revised at
novel in progress, I commend an least six times, and input from my writ-
Focus on the writing, not the writer. ing partners improved it substantially.
Comments such as “My attention wan- This piece is currently in circulation,
A S H L E Y M E M O R Y teaches creative dered in the middle of the essay” work and although it hasn’t been accepted
writing for Charlotte Lit, a nonprofit much better than “You bored me by for publication yet, a recent rejection
arts center, and she has written for the the third page.” Or “I was surprised note stood out. It wasn’t the usual form
Independent, Wired, and Healthline. Her that the father didn’t react to his son’s letter. This note included the supreme
essay “The Perfect Lamp” was a finalist outburst” versus “You left something consolation prize: a single line of con-
for the 2021 Barry Lopez Nonfiction Prize out of this scene.” Avoid absolute structive criticism. Aha, I thought. I’m
sponsored by Cutthroat. truths such as “You should” or “You getting closer.

55 POETS & WRITERS

NEW FROM HAYMARKET BOOKS

haymarketbooks.org
 Writer
THE PRACTICAL

Book Advances 101

A N AU T HOR’S GU I DE T O GET T I NG PA I D

T
HERE are few things authors enjoy talking
about less than money. It feels icky to dwell
on spreadsheets and percentages when we’re
trying to make art. At the same time there are
even fewer things authors want to know about more than
money, especially since the ins and outs of the business
side of publishing are often confusing and opaque. When I L I N C O L N M I C H E L is
first started writing I felt I didn’t have any idea how things the author of the novel The
worked. So I decided to teach myself. Since then I’ve pub- Body Scout (Orbit, 2021)
lished books with both a small press and a Big Five publisher and the story collection
and worked in various parts of the industry. Here are some Upright Beasts (Coffee House
of the things every author should know about a seemingly Press, 2015). His fiction
simple yet complex part of publishing: book advances. and criticism appear in the
Paris Review, Literary Hub,
Just what is an advance? the New York Times, Granta,
On the most basic level an advance is the up-front money a and elsewhere. He writes
publisher pays an author to publish their book. (Although a semi-regular newsletter
increasingly much of that up-front money doesn’t appear about craft and publishing
until later. We’ll get to that in a bit.) More technically, an demystification called
advance is an advanced payment against, or out of, the royal- Counter Craft. You can find
ties that your book may earn. A royalty is the percentage of him online at lincolnmichel
each sale that a publisher pays the author. So this means you .com and @thelincoln.
will not get any more checks until your publisher has earned
back the advance. Some people call an advance a “signing
bonus,” but a bonus implies extra money, whereas in fact
an advance is paid back by the royalties the book will earn.
Advances also represent more than just the dollar number.
The more a publisher pays for a book, the more likely it is
to invest in publicity, marketing, and so on when the book
is released because, naturally, the publisher wants to recoup
that larger investment. In short, a bigger advance usually
signals that more resources will be spent in-house on the
book’s promotion.

Do I have to pay it back if my book doesn’t sell?

Thankfully, no. You might have to pay back your advance if
adalena kavanagh

you don’t fulfill your contract—for example, you don’t finish

the book—but not because of poor sales. An advance is not
a loan. The publisher is taking a financial risk, which also
means it will gain potentially higher rewards. “One thing I al-
ways tell authors is that the publisher is making money on the

57 POETS & WRITERS

 the practical writer B O O K A D VA N C E S 101

book long before the advance earns out,” scenario for a book,” says Mika Kasuga, the advance will serve as a baseline
says Michelle Brower, founding partner senior publishing manager at One salary. Guard it like a dragon with a
at Trellis Literary Management and my World, an imprint of Random House, hoard.”
own agent. “So unearned advances don’t a division of Penguin Random House.
mean that the publisher has lost money Since no one can see the future, publish- Wait, I don’t get my entire advance
on the book.” The reason: A publisher’s ers rely on the sales of comparable books in advance?
share of a book’s cover price is larger to guesstimate what a book can do. If you hear that someone got a $100,000
than the author’s royalty percentage, so Comp titles are similar books with advance, you might assume they are now
a publisher can be in the black on a book good sales records that were published in $100,000 richer. Not exactly. Advances
long before the advance is earned out. the past few years. Remember “similar” are paid out in equal chunks that might
and “last few years.” No, you won’t trick stretch across a couple of years. Today
Ka-ching! So how much will my an editor by pitching your literary short payments are typically split into thirds
advance be? story collection comped as “Harry Potter or fourths. All of this will be laid out
Maybe a million dollars! Or maybe and Gone Girl and The Goldfinch all in in your contract and can be negotiated
zero bucks. The average advance var- one.” Basically comp titles say, “Here’s between your agent and the publisher.
ies wildly by imprint and genre. A small what the book can do in the current mar- If your payment is split into thirds, you
press poetry collection is likely going to ketplace if everything goes right.” will typically get a third on signing, a
have a lower advance than a big press third on delivery of final manuscript, a
commercial thriller. In general agents Okay, I sell my book idea. Do I quit third on publication day. If it is fourths,
say the average advance is between my job and live on the advance? you’ll normally get the final payment
$5,000 and $50,000 for a debut book. In the past an author might get a big either on paperback publication or
But countless debuts have bigger or advance to live on while completing re- twelve months after initial publication.
smaller advances, and the math often search and writing a book. In 2022 that’s Indeed, the money from advances
changes once you have a track record. unlikely to be the case. can be spread out over quite some
While many nonfiction books are time. Imagine you sign a contract in
So what factors determine the size of sold “on proposal”—essentially a long July 2022. Your book might be sched-
my advance? book pitch—this is much less common uled for publication in July 2023, and
A whole heap of variables come into play for novelists, poets, or short story writ- then delays in the editing phase or other
with advances beyond just genre and ers. Most works of fiction are sold only factors might push the book to January
publisher: the author’s track record (if after they are completed. The excep- 2024. If your final payment happens a
any), the agent’s negotiations, the sales tions are books that are part of a mul- year after that, then you’re looking at an
of recent comp titles, and so on. Often tibook deal, such as a trilogy being sold advance spread out over four calendar
if a book goes for a lot of money, it’s be- after only the first book is finished, or years. And all that’s before the agent’s
cause there’s an auction in which mul- a very established author with a great cut and—don’t forget—taxes.
tiple publishers bid against one another, sales track record. No one is going to
effectively driving up the price. But most turn down a Stephen King novel that’s There’s an agent fee?
of these things are out of the author’s in pitch form. Regardless, while some Yes, typically 15 percent. But unless you
control. It’s also worth pointing out that books are sold before completion, most are publishing with a very small press
sometimes it is preferrable to negotiate a advances are not high enough for an that you trust, under circumstances in
lower advance in exchange for higher roy- author to live on that alone. And even which minimal money is involved, you’ll
alty rates. Bottom line: You want a good when an advance is high, the author want an agent. Good agents absolutely
agent guiding you through the process. will get only a third or a quarter of it pay for themselves.
upon signing. So don’t quit your day
What on earth is a comp title? job just yet. Do I at least get paid royalties
“Comp titles,” or “comparable titles,” Paul Lucas, an agent at Janklow & immediately?
are what they sound like: books your Nesbit, notes that an advance can be No, unfortunately royalties also take
book is compared to. When your agent used however an author wants but that time to roll in. Publishers typically
pitches your book, they will list comp “there are no guarantees that future pay out royalties only once or twice a
titles to drum up enthusiasm. And when books” will get the same advance. “Until year, and royalty statements are a few
your editor buys your book, they will an author’s books are earning royalties months behind when you get them.
use comp titles internally with the sales or the money is so substantial…I would This isn’t because your publisher is
and marketing teams to guess sales po- suggest being very judicious in making scamming you. It’s because books are
tential. For a publisher, comp titles are multiyear commitments—for example, sold on consignment to bookstores,
“a means of conveying the best-case a mortgage—with the expectation that and bookstores can return books that

MARCH APRIL 2022 58

 the practical writer B O O K A D VA N C E S 101

they don’t sell. Basically everything So the publisher is taking 90 percent three don’t sell that well, you’d still get
moves slowly in publish ing. A nd of my sales!? that book one royalty money.
anyway, remember that you won’t get Although a lot of self-publishing authors However, under joint accounting—
any royalties at all until you “earn out.” will claim that publishers steal 90 percent which has annoyingly become the
of your book’s sales, this is not the case. norm—you wouldn’t earn any royalties
How do I “earn out” to get that sweet, The reason? The publisher and author until the entire $150,000 advance was
sweet royalty money? aren’t the only ones taking a cut. Much paid back. So if book one is a huge hit
The goal for every book is to “earn of the cover price is divided between the and the others flop, you’re out of luck
out,” which means you’ve paid back retailer (Amazon, Barnes & Noble, your on royalties.
your advance via your book sales. local indie bookstore, and so on) and the
When a book earns out, the publisher distributor (the company that delivers My last book didn’t earn out its ad-
knows it made a good bet on the book, the books to bookstores), with the re- vance. Is all hope lost?
and the author begins receiving royalty tailer getting the larger chunk. When “Not at all,” says Angeline Rodriguez,
checks. Everybody’s happy. Yay! Sadly a bookstore offers a discount, it is typi- an associate editor at Orbit, an imprint
most books do not earn out. For many cally discounting its own percentage of of Hachette Book Group, and the editor
authors the advance is the only money the cover price. This is why Amazon, as of my novel. “Sales are just one of many
they will see directly from book sales. an online store without the same physi- factors that go into publishers’ acquir-
But some books do earn out, and cal location and employee costs, is able ing a book and far from the sole decid-
hope springs eternal. To earn out you to discount books more than brick-and- ing one.” Earning out is always a good
need to sell enough copies of your book mortar bookstores. Whether this entire thing for both publishers and authors,
that you pay back your advance via situation is optimal is a debate for an- but remember that a book can still be a
your royalty rate. Let’s use some simple other time. It’s also good to remember financial success for the publisher even
math. If you got a $10,000 advance and that the publisher’s cut goes to paying if it doesn’t technically earn out. Each
your royalty rate is equal to $1 a book, for a lot of things, from the actual cost book is also an individual thing—unless
then you would “earn out” at 10,000 of printing the books to editing, cover it’s part of a series—and publishers know
book sales. Starting from sale number art, proofreading, and more. that a new book can potentially do much
10,001 you would earn royalties. better. This is especially true if the new
What about multibook deals and joint book is notably different from the last
Give me the real math. What are the accounting? in, say, genre, style, or subject matter. Or
exact royalty rates? As if all the above weren’t convoluted if publishers can identify reasons that a
Like most things in publishing, roy- enough, there’s also the existence of previous book might not have succeeded.
alty rates vary depending on different multibook deals, which further com- So while earning out is always good, fail-
factors. But there are some industry plicate things. A multibook deal is, as ing to do so is not a death sentence.
standards. For traditional publishers, the term suggests, a deal for multiple
the rates are about 10 percent of the books. These can take plenty of shapes. This is all a bit complicated—just
cover price for hardcovers and 7.5 per- An author might be writing a four-book give me the bottom line.
cent for paperbacks. For e-books and YA fantasy series and have only the first While advances are a major part of an
audiobooks—which tend to have fluc- completed. A literary author might sell author’s income, they’re only one part.
tuating price points—the standard is 25 a short story collection and an idea for a A book with a lower advance can start
percent of net receipts. future novel. Or a big-name commercial earning royalties sooner, and then there
Contracts can also have escalating author might want to just lock in a long- are foreign editions, Hollywood options,
rates in which, for example, hardcover term deal with their beloved publisher. speaking fees, teaching opportunities,
rates jump from 10 percent to 12.5 When you sign a multibook deal, one and other potential revenue streams.
percent after 5,000 sales and then to thing to be on the lookout for is joint Publishing can be confusing and com-
15 percent after 10,000 sales. To com- accounting. When book royalties are plex, but when you inform yourself,
plicate things further, retail prices calculated separately, then you can begin you’ll be in a better position to navigate
vary. And even more complicatedly, if earning royalties after the first book the industry and figure out the best path
your publisher buys rights that it sells earns out its advance. Let’s say you sign for you. Then you can get back to the
to third parties—for example, foreign a $150,000 contract for a trilogy with an most important thing: writing.
rights or audiobook editions—then a advance of $50,000 per book. If you sell So the bottom line is write the best
large portion of those sales are counted enough copies to pay back the advance book you can, educate yourself about
toward paying back your advance. Basi- on book one, you might be in the enviable how the industry functions, work with
cally we’re talking about a buck or two position of earning royalties while you’re an agent and publisher you trust, and
per book sold. still writing book two. If book two and book then move on to the next book.

59 POETS & WRITERS

NEW BOOKS FROM DUKE UNIVERSITY PRESS
GOOD
NIGHT LOTE
THE
shola von reinhold
shola von reinhold
PLEASURE
DAVID WAS
GRUBBS OURS

L O Myriad Intimacies
lata mani

T E Good night the

pleasure was ours
“Ingenious; irresistible; a dazzling first novel.”
david grubbs
Naomi Booth, author of Sealed and The Lost Art of Sinking

myriad intimacies lata mani

All That Was Not Her
todd meyers
At l a n t iss , Critical Global Health
a n autt oan

Atlantis, an Autoanthropology
nathaniel tarn
n thrr o poll o g y

Dionne Brand
The Blue Clerk
N at h a n iee l

The Blue Clerk

Ars Poetica in 59 Versos
dionne brand
Todd Meyers

ars poetica in 59 versos Now in paperback

TTa
a rrn
n dukeupress.edu
 Writer
THE PRACTICAL

First
PAU L T R A N’S A L L T H E F L OW E R S K N E E L I NG

T
HE lobby of the Chase Park Plaza hotel in
Saint Louis, with its glamourous chandeliers
and elegant staircases, seems like an ideal
place to meet Paul Tran. The poet walks in
wearing one of their more casual looks: high-waisted jog-
gers with a black, long-sleeve top and lace gloves, punc-
tuated by chunky-heeled boots and a green rattlesnake RIGOBERTO GONZÁLEZ
purse. We are still in the age of the pandemic, but Tran is a contributing editor of
doesn’t let the face mask—which matches the ensemble, Poets & Writers Magazine.
naturally—cramp their style. In Tran’s arms, a bouquet of
glorious sunflowers.
“I brought you these,” they say, setting the flowers on
the glass coffee table between us.
Though Tran is currently a Wallace Stegner Fellow in
Poetry at Stanford University, virtual instruction gives them
the freedom to log on from anywhere in the United States.
They chose to meet me in Saint Louis because it was here
that they flourished as an artist while enrolled in Washing-
ton University’s MFA program, which is located two miles
away from the hotel, at the other end of Forest Park. Three
years after Tran graduated from that program, their debut
collection of poetry, All the Flowers Kneeling, was published
in February by Penguin as part of its Penguin Poets series.
This extravagant hotel, the competitive and much-
coveted fellowship, the Big Five publisher—these spaces and
opportunities that Tran is now navigating with confidence
belie the poet’s working-class roots in San Diego as the only
child of a Vietnamese refugee. And yet, where else would
Tran, with their creative talent and penchant for fashion that
demands attention, go? I remind them that I was present at
the 2018 ceremony in New York City for the 92nd Street Y
Discovery Poetry Contest, where they dazzled onstage in
a formfitting gold gown and a hair clip adorned with roses.
Tran laughs. “I’m all about the wardrobe choices.” But it was
their poems—a mixture of solemn beauty and wry humor—
that truly enthralled the audience that evening.
The mood quickly turns when I ask about family. They
begin to narrate their history, which is mirrored in All
deidre schoo

the Flowers Kneeling, a powerfully evocative collection

that examines intergenerational trauma and violence.
The speaker struggles to bring their story of abuse and

61 POETS & WRITERS

 Paul Tran

sexual assault to light as they engage government persecuted Buddhists. And meal still sounds appetizing. Tran sug-
with their mother’s memories of escape after her father died, she believed it was gests the Vietnamese egg rolls, cha gio,
from Vietnam. her duty as the eldest to leave the temple, followed by a soup dish, pho dac biet. To
Tran’s mother, Tran Thi Chien, was leave Vietnam, and go to America to drink: Vietnamese iced coffee, of course.
born in 1954, near the end of the First help support her siblings. “My father, an ex-soldier, I don’t
Indochina War. Her twin, who died at “My mother was captured many times know much about, but I do know he
birth, was given the name their parents in her efforts to escape,” Tran says. “In loved me very much,” Tran continues
had picked since they had been expect- one of those attempts the boat was cap- as we wait for our meal. “He was about
ing only one child. So Tran’s mother tured by pirates. In one version of the two decades older than my mom. They
was nameless until her parents decided story, they assault my mother and send met in San Diego, where I was born in
to give her one that reflected the tur- her back, the lone survivor, to tell what 1992. They never married.” Tran was
moil of the times. Her given name, happened as a warning to others. In an- named after their mother’s American
Chien, means war. other version, while the pirates are about name, Paula.
“When I was younger, I would joke to execute her, one of the soldiers notices Their father’s love, however, had
to myself that I was a child of war, both her amulet with a Buddha charm, which violent dimensions. “I’m not certain if
figuratively and literally,” Tran says. saves her from certain death.” I was a child conceived with consent,”
“While growing up I became accus- After a decade of attempts, she finally Tran says. “I tried to get at the truth,
tomed to my mother’s relationship to made it to a refugee center in Malaysia. but my mother retracts what she tells
her dead twin. She would talk to her Her younger brother, who reached Cal- me. But I did witness my father being
constantly and would tell me that my ifornia before her, sponsored her entry cruel to my mother. I also have these
ghost aunt watched over me.” to the United States in 1989. memories, but they’re fragmented. I re-
Tran’s mother remained connected to To take a break from the intensity of call images of my father undressing me
the spirit world in part because at one the conversation, Tran suggests lunch at or lying beside me. And then nothing
hieu minh nguyen

time she was studying to become a Bud- their favorite eatery on Grand Street, in after that.”
dhist nun. She learned Buddhist theol- the Tower Grove neighborhood, close Not until Tran read Toni Morrison’s
ogy, practices, and rituals. She loved the to where they lived during their time in The Bluest Eye as a high school senior did
world of the spirits and faith. During the Saint Louis. We taxi to Pho Grand res- they recognize their own experience of
Vietnam War, however, the Vietnamese taurant. It’s 93 degrees outside, but a hot sexual abuse. “All the Flowers Kneeling is

MARCH APRIL 2022 62

 the practical writer FIRST

I
yet another way to reclaim that past,” of cloth in polka dots—whatever extra T IS time for a change of scenery.
they add. The damaging effects of that material was available. “I was ridiculed Tran guides me toward Tower
experience have been long-lasting. at school for what I later understood was Grove Park, lighting up a ciga-
“For years the only kind of relation- less about my poverty and more about rette on the way. We take a seat
ship I had with others is one in which I my queerness,” Tran says. at the Fountain Pond and Ruins, where
was the victim paired with a villain or At the dry-cleaning business, Tran’s a group of children are climbing the
opponent. And I don’t want any of that mother arrived to work in full makeup stones and frightening the gaggle of
anymore. So the hard part begins now, and a fashionable outfit she had made geese in and out of the water. Tran
figuring out how to leave all that behind herself, replicas of the modern cloth- says that the park became an important
and then start a new thing.” ing she studied during visits to the space to reflect and create during their
The last time Tran saw their father mall. Looking good no matter what time in Saint Louis. The afternoon sun
was after an outing to a Kentucky Fried was something she practiced even in makes the silver ring of their septum
Chicken in 1999. “He just tucked a $5 the refugee camp in Malaysia. Tran piercing gleam.
bill in my hand, along with some left- proudly shows off a series of glamour Growing up in an immigrant house-
overs, and said goodbye,” Tran says. pics of their mother, strategically shot hold meant that education held a special
By then their mother had found a job to obscure the less presentable back- value. Tran’s mother did what she could
as a seamstress for a Polish woman in ground. Similarly she protected Tran to make this a reality for her child, like
San Diego named Ursula. Years later from the reality of their poverty by scraping together enough funds to buy
Ursula decided to relocate, and Tran’s hiding it, even when food was scarce. them a school uniform for the Preuss
mother, with the help of her brother, During this time, Tran was also School, a charter at the University
took over the business, ready to embark introduced to writing poetry. “My of California in San Diego for low-
on a lifelong career in the tailoring and mother wrote prayers for herself,” they income, first-generation college-bound
dry-cleaning business. explain. “She always looked to her Bud- students. “Somehow she got two,” Tran
Tran recalls with great humor the dhist training, especially during times recalls. They wore those two uniforms
clothing their mother would make for of distress.” Tran imitated that practice, for the next seven years.
them as a school-age child. Like those writing their own incantations. “My “If I succeeded,” Tran explains, “my
overalls that, in order to get further childhood was only about my mother mother could prove to the world that
use out of them as Tran grew, were and me. And the library. With books I she in no way lacked the qualities of a
creatively lengthened with a row of could be with other interesting people, good mother, and she would also feel
cheetah print, and then again with a row I could go anywhere.” like her life had meaning and purpose
and that all that sacrifice was worth it.”
POEM But that momentum hit a snag when
Tran finally came out as queer at the age
Orchard of Knowing of fifteen. “It wasn’t much of a choice,”
they add sheepishly. “Everybody knew.
Into the shadows I go But it saddened my mother, and I’ve
and find you, gorgeous as your necklace had to come out to her every year since
of nine hundred and ninety-nine index fingers. because she keeps denying my truth.”
All of them point at me When Tran came out to their mother
as the kill to complete your mission: as trans, they received an even colder
to return to your kingdom by returning to your king reception, with their mother declaring
a thousand human sacrifices. gravely, “If you choose to live your life
You chase me. You swing your sword as a woman, you are not dead to me. You
are saying I am dead to you.” Yet Tran
yet I remain beyond your reach. points out that it was their mother who
I’ll surrender, I tell you, first opened the door to their wearing
when you detach from your received idea of purpose. feminine clothing and envisioning the
So you do. You set down your weapon. possibility of a truer life.
But I didn’t mean the blade in your hand. Tran shows me a photo of them at
I meant the blade in your mind. age three, wearing a ladybug dress.
Another picture shows them at age five
“Orchard of Knowing” from All The Flowers Kneeling by Paul Tran, published by Penguin in a white dress, which they convinced
Books, an imprint of Penguin Publishing Group, a division of Penguin Random House, their mother to make. In another, they
LLC. Copyright © 2022 by Paul Tran. have fashioned a blanket into a dress,

63 POETS & WRITERS

 the practical writer FIRST

cinched with a belt. A tiara sparkles on own story, finding their voice in com-
their head. petitions such as the Wade-Lewis
“I always knew,” Tran says. “Or I al- Poetry Slam Invitational and the Col-
ways had a sense of what I wanted to be.” lege Unions Poetry Slam Invitational
Tran’s ambition and drive to pursue (CUPSI), where they won “Best Poet”
an education was fueled by “a desire and “Pushing the Art Forward” honors.
to exceed the expectations that were “The slam was where I finally became
set for a child of immigrants” and the person that all these visceral experi-
also by the self-imposed pressure to ences brought together,” Tran says. “I
prove to their family—even back in was offering the queer and trans Asian
Vietnam—that they were indispens- American story.” During this time, they
able, as a breadwinner, in helping them met poet and slam coach Mahogany L.
fulfill their financial needs. Browne while competing at CUPSI in
The first step was college, which led 2013.
Tran to Brown after they turned down “They were full of joy and humility,”
three other Ivy League universities. “I Browne recalls, “even in the midst of
took my mother with me to all these competition. I decided I was a forever
places to visit,” Tran says, “and they fan. It is difficult to be generous in those
were all cruel to her in different ways. spaces, and Paul Tran never missed a
Once she got lost on the campus, and chance to extend support and kindness.”
no one helped her. So I went to the place That same year, another important
that didn’t disrespect her.” encounter took place across the coun-
At Brown from 2010 to 2014, Tran try, in New York City at the Kundiman
was a Mellon Mays Fellow and a history retreat, where Tran met fellow Viet-
major, doing research on the develop- namese American poets Cathy Linh
ment of diversity and multicultural cen- Che, Duy Doan, Tiffanie Hoang, and
ters at universities. Tran felt they finally Ocean Vuong. Their experiences in the
had a community who understood and slam and Asian American poetry com-
supported them as they began fash- munities empowered Tran to make the
ioning a new life—a life in which they choice of moving to New York after col-
could finally integrate all aspects of lege, “because Cathy and Ocean lived
their identity and be the self they had there.” Tran also reconnected with
dreamed of being. Browne, who coached them further in
During their junior year, however, the art of performance. “I continued
their life went into a tailspin after a with slam because it was the commu-
sexual assault. “My mind has blocked nity I felt was invested in my story, in
most of that memory. But I do remem- me being alive,” Tran adds.
ber there was an ice-cream truck that But Tran wanted further engagement
passed by,” they say. Unmoored and with poetry. An opportunity presented
unable to concentrate on their studies, itself while on fellowship with the Ar-
Tran eventually lost the fellowship and chive and Public History MA program
was on the brink of flunking out of col- in the Asian Pacific American Insti-
lege. Their official complaint was met tute at NYU. As a Kundiman fellow,
with a lackluster response from univer- Tran received a scholarship to attend
sity officials, who offered little support the Palm Beach Poetry Festival and
other than to ensure that Tran earned met Carl Phillips, an auspicious occa-
the credits to graduate and move on. sion since Tran had recently applied
“But I had one thing left,” Tran says. to the MFA program at Washington
“The poetry club.” University in Saint Louis, where Phil-
Tran was unable to write academic lips teaches. In order to avoid any awk-
papers, but they could write a poem, wardness, Phillips revealed to Tran
and often listened to a playlist of slam that they had been accepted and, with
performances. Slam was personal, Mary Jo Bang, encouraged them to
Tran concluded, so they shaped their apply for the Chancellor’s Graduate

MARCH APRIL 2022 64

 the practical writer FIRST

Fellowship—what Tran describes as a by poem, to be a record of something I

“second chance.” had learned to help alter my existence in
In 2017, Tran moved to Saint Louis, the world, that liberated me further, to
but not before receiving an unexpected take me closer to the things I wanted, to
invitation by Victory Matsui, an editor help me lay down the burdens I need to
at One World, to submit a manuscript leave behind.” Matsui connected Tran
for consideration. Tran resisted the to literary agent Rob McQuilkin, who The Loneliest
temptation. “I wanted to test the ca- helped them prepare a pitch. The manu- Whale Blues
paciousness of the lyric in not just script was sent to thirteen publishers in Dऺ"3,=:9ऺ"@E@64ர
expressing experience but enacting October 2020. Ultimately the faith in Martinez
emotional experience—to investigate the book that longtime Penguin editor WINNER OF THE
interiority—and we felt that, when I Paul Slovak conveyed, Tran says, made 2021 WASHINGTON PRIZE
finished my MFA in 2019, I would have Penguin the ideal home. ௑ऺ>;4=,7492யऺ3,@9?492ऺ
an even more realized manuscript.” Tran moved to Oakland in the win- song of both the
Tran graduated two years later but re- ter of 2020 to begin their fellowship at ;0=/@=,-474?Dऺ,9/ऺ1=,2474?Dऺ:1ऺ34>?:=4.,7யऺ
mained an extra year as a Senior Poetry Stanford, which will end in the spring biological, and geological cycles with
Fellow, teaching workshops for under- of 2022. By then All the Flowers Kneeling ,ऺ;:0?4.ऺA:4.0ऺ?3,?ऺ4>ऺ-Dऺ?@=9>ऺ?09/0=யऺ
graduates. “The village of teaching artist will be out in the world. The uncertainty B348>4.,7யऺ,9/ऺ@=209?ற௒ऺ
poets at WashU gave me something to of the book’s reception or success makes —Lee Ann Roripaugh
live for and a way to process and under- Tran nervous, but these are factors they
stand my life,” Tran says. This was a time cannot control. Their own future after THE 2022 HILARY THAM CAPITAL COLLECTION:
for healing and paying it forward, which the fellowship also gives them pause, SELECTED BY CYNTHIA ARRIEU-KING
included coaching VerbQuake, the Saint though they hope that the book will
Louis youth poetry slam team. The team bring them one step closer to the dream to stir &
placed first in the Brave New Voices In- of attaining a position at a university. By Nikia Chaney
ternational poetry slam tournament in “I want to be there as a faculty mem-
“Chaney’s poems
Las Vegas in 2019. ber who believes my students if and chart the ocean
Carl Phillips, whose latest book, Then when they come forward to say that an :1ऺ>0C@,7ऺ5:Dऺ49யऺ
the War: and Selected Poems, 2007–2020, extremity has happened to them. That B077யऺ0A0=D?3492றऺ
was published in February by Farrar, I can do what was not done for me as These poems
Straus and Giroux, says Tran was one an undergraduate. And that gives me dance, dodge,
pivot towards, away, and back to
of the best students he has encountered. purpose,” they say.
09.:@9?0=>ऺB4?3ऺ-:/40>யऺ?30ऺ>071ௐ>ऺ
“Their poems refuse easy definitions The afternoon light begins to dwindle -:/Dயऺ,9/ऺ?304=ऺ@=20>ற௒
of the self and push past the idea of a and the crowd at Tower Grove Park is be- —Cynthia Arrieu-King
handed-down history,” Phillips says. coming smaller and smaller. As we wait
“Paul has forged a poetry of grace and for the car to take us back downtown, Refuse to
ferocity, poems that are clearly made to we pull up our masks. Tran makes one Disappear
last.” final statement, slightly muffled, but that By Tara Betts
“Paul is the kind of student one loves doesn’t lessen the power of their words.
“Her poems radiate
because they make you feel that the “Although I was already politicized
the blaze of black
things you most want to teach are the as a poet, I became politicized further women’s voices,
very things they most want to learn,” as I struggled to write and then share then and now, never
adds Mary Jo Bang, another important my poems,” they say. “It shaped my to be forgotten, her
mentor for Tran at Washington Univer- conviction to help others, especially 7490>ऺȒऺ,80ऺ@;ऺ,9/ऺ@95@>?ऺ34>?:=Dऺ
sity. “It’s fun when that happens, a seri- my students, to use poetry as a vehicle 4>ऺ>4920/யऺ,9/ऺD:@ऺ=0,/யऺ7460ऺD:@ௐA0ऺ
ous and very exciting kind of fun. They for truth-telling in all the ways that the 1:@9/ऺ?3,?ऺ1=409/ऺ?3,?ऺ;@?>ऺ7,92@,20ऺ
?:ऺ?3,?ऺ?3492ऺD:@ऺ107?ऺ-@?ऺ.:@7/9ௐ?ऺ;@?ऺ
were learning from all of us, and from truth can be told. Whether through di- B:=/>ऺ?:யऺ?3,?ऺ3:80ऺȑऺ=0ऺ=0>.@0ற௒ऺ
their fellow students, and their poems rect autobiographical particularity or —Cornelius Eady
quickly took off in the most surprising lyric indirection, I realized a poem is
directions. It was rather magical.” not only my argument against erasure, Visit wordworksbooks.org for
Eventually All the Flowers Kneeling but it’s the primary source document 2022 Submission Guidelines.
came to fruition. Tran has a deep sense for what has happened to me. When
Washington Prize
of its significance and the labor it took I have no evidence, the poem is my accepting entries till March 15!
to get there: “I wanted the book, poem evidence.”

65 POETS & WRITERS

 Writer
THE PRACTICAL

The Fully Fact-Checked

Memoir
B AC K I NG U P FAC TS, STA N DI NG BE H I N D T RU T H

M
Y DREAM came true on a dismal March
afternoon. Snow still crusted the sidewalks
outside my apartment window, and it was
raining. It was early pandemic—very early
pandemic. Quarantine felt like we’d all been cast in a surreal
episode of Black Mirror, and I and almost everyone I knew
assumed it would—like a television drama—last for a finite S A R A H F A Y is an author
amount of time. A couple of weeks. A month, tops. and activist. She is the
In my twenties, I’d dreamed about the day when a pow- author of Pathological: The
erhouse agent would get in touch to tell me that she was True Story of Six Misdiagnoses
two-thirds of the way through my manuscript and loving (HarperCollins, 2022) and
it and not to talk to any other agent until she could fin- the founder of Pathological:
ish and discuss representation with me. (In true want-to- The Movement (pathological
be-a-writer fashion, I’d imagined this even before I had .us), a public awareness
a manuscript.) I assumed it would happen with my first campaign devoted to
manuscript. Then with my second. Then my third, my educating people about the
fourth, and my fifth. By the time I was in my forties, I unreliability and invalidity
started to think it was never going to happen. of DSM diagnoses and the
But there I was, standing in my kitchen, my face lit by dangers of identifying with
the blue light of my cellphone screen, reading just such an an unproven mental health
e-mail. Another e-mail arrived saying that the agent was disorder.
cc’ing her assistant to schedule a phone meeting.
An almost anguished elation came over me. I pumped
my fist into the air and went to the window, as if to shout
my good news—almost twenty years in the making—from
the rooftops, but the streets were empty.
The phone meeting occurred a couple of days later. Just
when I thought it couldn’t get better, it did. The manu-
script, she said, needed no revisions. It was ready to be
shopped to publishers. This was unheard-of. I asked about
the pandemic. She said it hadn’t slowed down publishing.
Before we got off the phone, she said, “One thing. You’re
going to need support.”
“Support?”
“You make pretty strong claims in the book.”
It was true. My memoir was partly about the six diagno-
ses I’d received since the age of twelve—anorexia, major de-
maia rosenfeld

pression, obsessive-compulsive disorder, anxiety disorder,

ADHD, bipolar disorder—and partly an exposé of the book
from which all mental health diagnoses come: the American
Psychiatric Association’s Diagnostic and Statistical Manual of

67 POETS & WRITERS

 the practical writer T H E FAC T- C H E C K E D M E M OI R

Mental Disorders (DSM), often referred like too much.”) I wove into my story a
to as psychiatry’s bible. While in my historical account of the DSM and the
forties I learned that the diagnoses I’d lies we’ve been told about mental health
received—and all mental illnesses/ diagnoses. After reading my book a
mental health diagnoses—are not sci- reader would be able to walk into a men-
entifically valid: Aside from diagnoses tal health care professional’s office—or
like dementia and rare chromosomal counsel a friend or sister or parent or
disorders, there are no biological mark- child who’d just walked out of one—
ers to prove a person has what the DSM and understand how flimsy diagnoses
calls “major depressive disorder” or like “clinical depression” and “anxiety
“social anxiety disorder” or “ADHD” or disorder” and “bipolar disorder” and any
“schizophrenia” or any other diagnosis. other “disorder” really are. Before they
They’re wholly subjective—based en- ended up like I did—spending their lives
tirely on self-reported symptoms and believing in and identifying one diagno-
a clinician’s opinion. They aren’t even sis after another, even perhaps suicidal as
reliable—most of the time two clinicians a result—I’d make sure they knew the
won’t give the same patient the same di- truth, which would give them agency
agnosis based on the same symptoms, over their mental health treatment.
even if they meet with the patient at the Since at least 2009 some of the most
same time. prominent psychiatrists and research-
(If we were to put a number on the ers in the field have been sounding the
reliability of a diagnosis, researchers alarm, urging us not to trust the DSM-5
estimate you have a 50 percent chance or its diagnoses. Former director of the
of being misdiagnosed. In other fields NIMH Thomas Insel called DSM di-
of medicine, in which misdiagnosis agnoses “constructs” with “no reality.”
can actually be proved by a biological Steven Hyman, another former NIMH
marker like a blood test, X ray, or scan, director called them “fictive diagnos-
that likelihood is said to be anywhere tic categories” and the DSM itself “a
from 5 to 20 percent. But, remember, scientific nightmare.” Psychiatrist and
in psychiatry we’re always being given DSM-IV task force chair Allen Frances
theoretical diagnoses.) has spoken and written at length about
My purpose for writing the memoir the falsehoods of DSM diagnoses, going
was to reach the 46 percent of Ameri- so far as to tell us not to buy, teach, or use
can adults and 20 percent of children and the DSM anymore.
adolescents who will receive unproven Their siren call has yet to make it into
DSM diagnoses in their lifetimes and the mainstream. Most Americans still
to warn them that those diagnoses are, believe in DSM diagnoses. They abide
essentially, invented. They exist as theo- by them, accept them as truth. Nearly
retical symptom lists and diagnostic la- half of all Americans think they know “a
bels created by “task force” committees great deal” about mental illness and DSM
of primarily white, cisgender, heterosex- diagnoses, some (in my experience) with-
ual men based not on data, but opinions. out knowing what the initialism DSM
(When asked why a person needs five even stands for. According to a 2019 poll
of nine symptoms to receive a depres- by Universal Health Services, 98.6 per-
sion diagnosis, Robert Spitzer, chair of cent of Americans say that mental health
the DSM-III task force committee that diagnoses “represent legitimate medical
developed the book’s third edition, said, illnesses.” While mental illness itself is
“It was just consensus. We would ask absolutely real, relying on the diagnoses
clinicians and researchers, ‘How many of the DSM to understand these condi-
symptoms do you think patients ought tions can do more harm than good to
to have before you give them a diagnosis the millions of people who would benefit
of depression?’ And we came up with the from proper treatment.
arbitrary figure of five…because four just I studied the DSM and read sub-
seemed like not enough. And six seemed stantial parts of it (parts of it because I

MARCH APRIL 2022 68

 the practical writer T H E FAC T- C H E C K E D M E M OI R

find it hard to believe anyone has read academic publishers. (I knew better than perience for the reader—than if I stuck
the DSM ’s more than nine hundred to cite anything published by the mass to the facts.” Memoirist Vivian Gornick
pages cover to cover. Such a feat would media, save a handful of news outlets.) writes, “Truth in a memoir is achieved
surely drive someone to madness, pun But even with over five hundred citations, not through a recital of actual events; it
intended.) I read Allen Frances’s book I was afraid no one would believe me. is achieved when the reader comes to be-
and Thomas Insel’s NIMH blog posts Partly it had to do with stigma. Not lieve that the writer is working hard to
and Steve Hyman’s academic publica- only was I a woman admitting to being engage with the experience at hand.” She
tions. Books upon books upon articles diagnosed with not one but six mental goes on: “What happened to the writer
and peer-reviewed studies followed until illnesses, I’d also had several suicidal epi- is not what matters; what matters is the
I believed I was enough of an expert on sodes. These admissions could lead some large sense that the writer is able to make
the DSM and the APA’s sordid history to readers to wonder if I had an “unstable” of what happened.”
write about both. mind and question my credibility. Much of this truth-lie argument is
Which was why I didn’t understand Much has been made of memoir’s in- about memory. Because memory is im-
the reason my agent was asking for consistent track record when it comes perfect, the memoirist is left to rely on
sources. “They’re hyperlinked,” I told to telling the truth. Best-selling mem- “emotional truth” and even imagined ex-
her. It turned out she’d read it on her oirs, all advertised as accounts of true perience. Emotional truthiness is more
Kindle and the hyperlinks hadn’t come events, have been shown to be falsified: important than the truth, so memoir-
through. Asa Earl Carter’s The Education of Little ists need only concern themselves with
Over the next week I received the Tree (Delacorte Press, 1976), Margaret themselves, the thinking goes. The goal
contract and some interest from other Seltzer’s (aka Margaret B. Jones’s) Love isn’t truth; it’s to speak “your truth”
agents I’d queried, all of whom I refused and Consequences: A Memoir of Hope and using literary techniques that produce
without a second thought. The agent Survival (Riverhead, 2008), Misha De- a convincing narrative or experimental
I’d signed with e-mailed a list of editors fonseca’s Misha: A Mémoire of the Holo- work from the author’s point of view.
we’d approach. A week passed. Then an- caust Years (Mt. Ivy Press, 1997), and, of I didn’t believe in emotional truthiness
other. Editors passed. Others showed course, James Frey’s A Million Little Pieces and trusted my recollection of events.
interest. We met with them via phone (Doubleday, 2003). These weren’t literary Although much of psychology and sci-
and Zoom. The book sold in a month. It hoaxes like the one played by JT LeRoy entific research has led us to believe that
was a sunny early-April afternoon when or autofiction like some of Tao Lin’s memory is untrustworthy and highly
my agent called to tell me that it was work. They were intended as memoirs, suggestible, one more recent study in-
settled. I had a publisher. And an editor. or what Ben Yagoda defines as a “book dicates these claims are exaggerated.
And it was all suddenly very, very real. understood by its author, its publisher, Memory is limited and can be manipu-
That night, as I sat on my couch and its readers to be a factual account of lated but not to the point of unreliability.
staring out at the Chicago skyline, the author’s life.” They were lies. The issue lay with the claims I was
doubts flooded in. I started to cry. Why Memoirists, readers, and critics make making. Was I backing them up enough
was I crying? The best thing in my life a habit of deconstructing the genre, to take on the mental health–industrial
had just happened. I’d written for repu- asking if it even belongs in the category complex and change the minds and
table magazines and newspapers—the of nonfiction. The trend was (and still lives of 150 million Americans?
New York Times, the Atlantic, the New Re- is) to question truth’s place in memoir. In no way did I think of myself as the
public, the Paris Review—and knew how Three assumptions justify the truth- type of the memoirist Yagoda describes:
intense fact-checking could be. And I isn’t-important-in-memoir position: (1) “Memoirists remember; no one truly ex-
had a PhD in English literary stud- memory is fallible, (2) actual truth isn’t pects them to engage in careful investi-
ies. Academia has its faults, but it’s the as important as “emotional” or “interior” gation and research.” I thought of myself
best research-integrity training ground “truth,” and/or (3) life doesn’t follow tidy as a kind of hybrid memoirist-journalist–
available. I’d spent six years wandering narrative arcs, but coherent storytelling medical historian. As a memoirist I’d be
the dusty stacks of a dimly lit library. My often relies on them. Even the most tal- true to the facts of my personal history.
program had trained me—practically ented memoirists, like Kiese Laymon, As a journalist I’d follow the No. 1 piece
Navy SEAL fashion, albeit in an ivory seem to accept that no memoir can per- of advice for journalists in the Nieman
tower—to construct literature reviews, fectly capture the truth, so it’s best to Foundation for Journalism’s Nieman
interpret data, look for flaws in studies, resign oneself to “write a lie.” As John Reports and “back up with a document
and articulate research trends over time. D’Agata writes in The Lifespan of a Fact every claim, anecdote, or scene involv-
And to cite. Citations were everything. (Norton, 2012), an account of his seven- ing another person named or unnamed
My fear wasn’t really about my book. year battle with Believer fact-checker Jim in your book.” As a medical historian I’d
The sources I used primarily came from Fingal: “By taking these liberties, I’m analyze the DSM with the precision and
peer-reviewed journals and books from making a better work of art—a truer ex- depth of an academic.

69 POETS & WRITERS

 the practical writer T H E FAC T- C H E C K E D M E M OI R

Once my manuscript reached the as citations. (Their likely origins are

copyediting stage, my editor and I were traced to nineteenth-century author
tasked with deciding how to present my George Crabbe.) Endnotes, too, could
research. Memoirs aren’t supposed to make a text seem academic, but they’d
include citations—not in the academic provide the authority I needed.
sense. Some writers, like Dave Eggers My preoccupation with my own
and Martin Amis, have used footnotes in credibility speaks to a deeper prob-
nonfiction to be clever or erudite. Foot- lem in our treatment and understand-
notes can give a text the meta feeling of ing of memoir: power. Those with
David Foster Wallace’s work or seem to privilege—with respect to race, gen-
complicate reality and narrative, as in der, socioeconomic status, and ability,
Jenny Boully’s essays, or appear schol- among others—can disregard the truth
arly yet funny, as in Carmen Maria and never even wonder if readers will
Machado’s In the Dream House (Gray- trust them. They already have author-
wolf Press, 2019). Academic citations risk ity and know they will, on some level,
pulling a memoir from that ambiguous be believed in a way that those without
category of creative nonfiction, which power don’t.
relies not on evidence but ideas. The day I received the first paycheck
I insisted on superscript citations and from my advance made the book even
not just a vague “Notes” section at the more of a reality. Not the egocentric
end of the book. My editor thought that I-have-a-book-coming-out aspect of
footnotes were unsightly, and I agreed. reality, but the I-am-responsible-for-
(Supposedly other publishers do as well. every-word-in-it aspect.
Chuck Zerby describes in The Devil’s A few nights later I sat at the kitchen
Details: A History of Footnotes [Simon table Googling “fact-checking” and
& Schuster, 2003] how in recent years found an article by Emma Copley
presses have asked authors to remove Eisenberg in Esquire. Fact-checking
their citations entirely and sequester isn’t the norm in book publishing.
them on a separate website.) Originally Eisenberg describes what it was like for
footnotes were developed to make a text her to be “forced to hire her own fact-
more pleasing. Prior to their innovation, checker” when her publisher wouldn’t
commentary appeared in the margins of cover this expense for her debut book.
a text. By the Renaissance, marginalia She’d worked as a fact-checker and still
had become so commonplace that even didn’t trust herself to do a thorough
the pages of the Bible were overrun with enough job on her own work. A fact-
words, leaving little white space. Each checker, as Eisenberg writes, reads for
comment corresponded to a point in accuracy, researches any facts pre-
the text, but the aesthetics left much sented, assesses sources, checks quo-
to be desired. Queen Elizabeth’s senior tations, and flags plagiarism.
printer, Richard Jugge, ordered all com- So it didn’t come as a surprise to learn
mentary into a single section down the that my publisher wouldn’t be provid-
side of the page of the Bishop’s Bible. ing a fact-checker. Like most nonfiction
His real triumph came with his inclu- books published by a major imprint, my
sion of two notes neatly tucked away at memoir would undergo several rounds
the bottom of the page. Centuries later, of copyediting but not fact-checking, per
footnotes would become a scholarly tool se. “Legal” would have a pass at it, check-
used not just for commentary but to cite ing mainly for glaring inaccuracies,
sources. plagiarism, and any moments that might
Because footnotes could make my lead to a lawsuit against the publisher.
writing appear tight and academic, end- Unlike Eisenberg, who views the
notes seemed like the most unintrusive absence of a publisher-funded fact-
and concrete way to support my claims. checking stage as a betrayal, I thought it
Like footnotes they were first used to was right. My contract stated that I was
include commentary rather than act accountable for each comma, every and.

MARCH APRIL 2022 70

 the practical writer T H E FAC T- C H E C K E D M E M OI R

Plus, I—not the publisher—would own certain claims, it forced me to refine my heroes of publishing. In my last e-mail to
the copyright. argument. If she pushed me to find a her, I wrote, “We’ve done it!”
I hired a fact-checker who freelanced more current study, it allowed me to Later, during one of the copyediting
for New York magazine and elsewhere. better understand how the discussion rounds, I fact-checked the book again
(Many fact-checkers operate on a free- surrounding the DSM and diagnoses myself. The fact-checker I’d hired had
lance basis.) Her fee came out of my had evolved. Every time she spotted inspired me that much. I read The Chicago
modest advance. It took months. We a misspelled name, I looked it up and Guide to Fact-Checking (University of
went chapter by chapter. Some weeks learned more about the source or sub- Chicago Press, 2016), wherein author
we’d have to stop because she’d have an ject. With each round I became more Brooke Borel writes that half of all jour-
assignment for New York, a situation confident in my book. nalists teach themselves how to fact-
she’d made me aware of before con- W hy wouldn’t all memoirists do check. Others learned on the job and
tracting her. this? Why don’t we all back up the not in any formal setting. I wanted to
Dread filled me each time I sent a claims we make about health and ill- do that too.
chapter. My thoughts would spin: I must ness and politics and history? If mem- It quickly became clear that the fact-
have gotten something wrong. I didn’t oirists decline to fact-check their work checker I’d hired had done a beyond
read that article carefully enough. Those (or don’t hire someone else to), we thorough job.
statistics may not have been from the could do as journalist Gabriel Mac sug- I felt triumphant, knowing I’d spent
article I said they were from. I thought gests, and let the reader know: “Maybe my advance well. More than that, I could
fact-checking was about getting every- there should be a warning, like on a back up and stand behind every word I’d
thing right, about earning her approval pack of cigarettes: ‘This book has not said about the DSM and its invalid diag-
and receiving an A-plus. Or getting an been fact-checked at all.’” noses. My book could change people’s
F and beating myself up and doubting When my fact-checker and I finished lives—could save their lives. Whereas
my book and spiraling into uncertainty. the epilogue of my book, I felt…sad. before I’d worried about people doubt-
But t he pro c e s s w a s f a r more Here was a person I’d never met but ing me and questioning what I’d said,
interesting than that. When she ques- whom I respected so much and felt such a now I wasn’t just ready for pushback—I
tioned my use of certain studies to make bond with. Fact-checkers are the unsung craved it.

71 POETS & WRITERS

 ADVERTISEMENT

New T i t l e s
the body has memories Impossible Naked Life
By adrienne danyelle oliver By Luke Rolfes
Kallisto Gaia Press
“…[C]onjuring the story of a life marked by moments of inva-
sion, healing, and the reflections of both…oliver’s work is a Winner, Acacia Fiction Prize. Whether it’s compassion among
monument to the memories of her flesh recollected in the ser- cold people, or a bull snake in the grip of a young girl, every
vice of grief, growth, and knowing.”— Ayodele Nzinga, MFA, story delivers something profound where you don’t expect it.
Ph.D., first Poet Laureate of Oakland, California; Alameda These stories ache and sigh in impossibly beautiful ways, and are
County Women’s Hall of Fame. haunted by a creeping sense of dread. Rolfes serves up the droll
and the devastating in equal measure.
www.adriennedanyelle.com www.kallistogaiapress.org

The Door-Man Unaccustomed To Grace

By Peter Matthiessen Wheelwright By Lesley Bannatyne
Fomite Press Kallisto Gaia Press

“Like Richard Powers and Barbara Kingsolver, Peter Wheelwright “From macabre fantasy to raw reality, these stories introduce
renders the inextricable connection between natural and human an authentic voice and unique vision. Unaccustomed To Grace
history in this richly layered and imagined novel.”—Paula Closson revels in danger, in warped heroes, in ebullient—sometimes
Buck, author, Summer on the Cold War Planet. “The Door-Man is devastating—fearlessness.”—Daphne Kalotay. “Bannatyne is a
a big, deep, beautiful book, a riveting multigenerational saga that trickster, casting a fiction-magic spell that dissolves the ground as
is also a meditation on time itself.”—Catherine Chung, author, you read, to reveal a world at once wilder, more wounded, and
The Tenth Muse. true.”—Sammy Greenspan.
www.fomitepress.com www.kallistogaiapress.org

The Gift of Glossophobia Taint: A Novel

By Mary Louise Kiernan By Janet Kelley
Kelsay Books Atmosphere Press
“It takes a lifetime to accrue—and reveal—one’s best creative This is the story of a girl seeking revenge for the rape of her best
acts, and Kiernan proves it in The Gift of Glossophobia.”—Molly friend. Set in small-town Kansas when the terrorist attacks in
Peacock. “Kiernan’s poetry touches on the fear of speaking her NYC brought life to a standstill, friendship and justice are tested
mind, self-discovery, family ties, and the magic of everyday when the unthinkable happens. “A stylish and bold YA literary
events.”—Chronogram. “This honest book welcomes ‘Turning novel…Taint doesn’t hold back.”—Independent Book Review. “A
forty on a full moon—let the lunacy begin.’”—Mary Makofske. searing, dark tale.”—Kirkus Reviews.
www.marylouisekiernan.com https://amzn.to/32WPHHc

The Levtov Trilogy Heart Like a Wheel: Poem Collection

By Ronald W. Pies, MD By Giulietta Passarelli
Amazon
The Levtov Trilogy brings together Ronald Pies’s novel, The
Director of Minor Tragedies, and two novellas. Together, the tril- This beautiful collection shares a heart’s journey through change
ogy follows the Levtov family through their years of loss, growth and growth. It’s life spinning on a wheel, cascading waterfalls,
and redemption. where the grass is greener. You wonder, fly, celebrate, leaving
the old behind, to look beyond the waters, following the rain-
bow. Dedicated to family and poets who found the treasures of
their heart, sharing life, love, and the beauty of poetry.
www.amazon.com www.gpassarelli.com

The Lady with the Crown: A Story of Resilience Knights of the Air, Book One: Rage!
By Kathleen Canrinus By Iain Stewart
Fuze Publishing Atmosphere Press

“A gritty, matter-of-fact account of tragedy and how to make In this WWI-set retelling, impeccable history from the dawn
it a beginning and not an end.”—David Teplow, Professor of of military aviation is woven with characters and themes drawn
Neurology, UCLA. “Bold, brave, honest! A beautifully told from the Arthurian myths. As two enduring legends intertwine,
mother-daughter love story.”—Ann Davidson, Alzheimer’s, A King Arthur meets the Red Baron. “Finely written and vividly
Love Story. “Heartbreaking and hilarious.”—Sylvia Halloran, imagined, this is a complex, gritty novel delving into the brutali-
poet and editor. “This beautiful, uplifting little book resonates ties of war. Stewart is an author to watch.”—BookView Review.
with love.”—Carol Cassara, The Healing Spirit.
www.amazon.com https://amzn.to/3qUmfd8
The Aquamarine Surfboard The Book who Loved Me
By Kellye Abernathy By Sanz Edwards
Atmosphere Press
A romance about how destiny and fate are fulfilled through a
Ebbing and flowing between reality and magic, times past and rocky journey of choices, heartache, disbelief, second chances,
present, The Aquamarine Surfboard is a riveting beach tale about and books who bring soulmates together. Anyone who has
opening up to mystery, building community wherever you written a love letter hoping it would be read by their soulmate,
can—and discovering the ocean is filled with the kind of magic or created a list of desired qualities in a spouse with the hope of
that changes the world. “A stellar debut that inspires hope and manifesting that person, will love this book.
kindness…a captivating read for all ages.”—Independent Book
Review. https://amzn.to/32M86H9 www.amazon.com

but the flames Liberation of Dissonance: Poems

By Emily Vieweg By Bruce Bond
Finishing Line Press Schaffner Press

“In but the flames, Vieweg finds the exotic (the ‘fire’) in the eve- Winner of the 2021 Nicholas Schaffner Award for Music in
ryday and reveals an examined life. She finds the beauty within Literature.
and without and all around. Through her verse, she polishes an
ordinary day and makes it extraordinary. Throughout, Vieweg “Bruce Bond is a poet of extraordinary talent…one of the best
has an eye for detail. Through her, we’ll truly see.”—Kevin poets writing now…”—Laura Kasischke.
Rabas, Poet Laureate of Kansas, 2017-2019, Elizabeth’s City.
www.finishinglinepress.com www.schaffnerpress.com

The Twisted Circle: A Novel The Spiral Shell: A French Village Reveals Its Secrets of
By Rosaliene Bacchus Jewish Resistance in World War II
Lulu Press, Inc. A Memoir by Sandell Morse
Schaffner Press
Inspired by real events, The Twisted Circle: A Novel is an evoca-
tive story of two religious women torn apart by obsession and “Elegant, erudite, passionate”—Alexander Chee (How to Write
entitlement. Within the confines and complexities of the reli- An Autobiographical Novel). Silver Medalist for the Sarton
gious life, the characters distort the circle of God’s love into the Women’s Book Award; now out in paperback as well as audio-
twisted circle of self-indulgence and sexual depravity. book and hardcover.

www.rosalienebacchus.com www.schaffnerpress.com

Watts UpRise Camaraderie of the Marvelous

By Ron L. Dowell By Dianna MacKinnon Henning
World Stage Press Kelsay Books

Watts UpRise is a very public love letter to Watts, Los Angeles. “Like evergreens and wildflowers, Dianna Henning’s poems are
The collection renders homage to its most notable artistic land- rooted in nature. She writes of a world where ‘words wore ani-
mark, the Watts Towers, and its creator, Sabato Rodia, and the mal skins,’ of a hungry doe that ‘burst into radiant being,’ of ‘tears
poems epitomize the beauty, strength, and resiliency of Watts turned into honeybees,’ and of a ruby necklace becoming a blood
and South L.A. inhabitants. A Press 53 award finalist, the collec- stain. Henning transforms domestic rituals and animal visitations
tion will be available in July 2022. Pre-order now. into magical encounters in these brilliant, elegant poems.”— Beth
Copeland.
https://worldstagepress.org/product/watts-uprise/ www.diannahenning.com

Whispers of the Soul: New and Selected Poems Spookie Stories (Some True, Some Not)
By Patricia Greer By Marjorie Tavoularis
Chiron Publications
A group of short stories with a paranormal theme. Some stories
Whispers of the Soul … sometimes gentle … sometimes fierce. were reported by the psychiatrist-author’s patients, while others
were written by the author as fiction.
A collection of poems that range from expressions of gratitude
for the gifts of nature, to musings about aging and the fragility of
life, to insights about women’s issues and concerns, to observa-
tions about the complexities of family dynamics, to reflections
about writing and therapy.
www.patriciagreer.com www.amazon.com
Threads: A Poetry Collection American Bastard
By Jeffrey Round By Jan Beatty
Beautiful Dreamer Press Red Hen Press

A lyrical, often rhapsodic collection of poems focusing on lovers, American Bastard is a lyrical inquiry into the experience of
close friends, absent fathers, teen and adult suicides, victims of being a bastard in America. This memoir travels across literal
anti-gay violence, and hustlers of lost dreams. continents—and continents of desire as Beatty finds her birth-
father, a Canadian hockey player who’s won three Stanley
Cups—and her birthmother, a working-class woman from
Pittsburgh. American Bastard sandblasts the exaltation of adoption
www.beautifuldreamerpress.com
in Western culture. www.janbeatty.com

The Flower Trade Work Hard, Not Smart: How to Make a Messy Literary Life
By Lon Otto By Alexis Paige
Brighthorse Books Vine Leaves Press

Hoping to rescue their marriage and make a fresh start, Monica A craft memoir that traces the author’s own creative origins and
and Ted have fled with their young children to peaceable Costa adventures to and on the page. With dry wit and candor, the
Rica—jungles, cloud forests, a failing flower farm. As the family author explores a range of personal and political subjects—from
members struggle to find their place in this sanctuary, forces of trauma to addiction to race—and the challenges and rewards that
desire and nature and the backwash of international conflicts accompany such creative labors.
sweep over them all.
www.brighthorsebooks.com/flowertrade www.vineleavespress.com

Escaping Marilyn collective madness

By Lauren Jaworski By adrienne danyelle oliver

Terrified by a government plot to murder her, Marilyn Monroe “These poems speak with…raw urgency…”—Faith Adiele,
flees her life of glitz and glamour. Rumor has it that Marilyn author, The Nigerian Nordic Girl’s Guide to Lady Problems and
has met her demise when she falls victim to foul play. Marilyn Meeting Faith. “…An incredible feat of poetry and invoca-
accepts the role of a lifetime when she alters her persona and is tion.”—Tongo Eisen-Martin, San Francisco Poet Laureate.
whisked away to a private island in Italy. “…Heartbreaking, infuriating, and absolutely essential.”
—Lauren K. Alleyne, author of Honeyfish and Difficult Fruit. “A
testament to resiliency…”—Thea Matthews, poet and author
www.amazon.com
of Unearth [The Flowers]. www.adriennedanyelle.com

Words of a Feather Hawked Together The Actual Dance

By Linda Marie Hilton By Samuel A. Simon
Atmosphere Press TADPress

This debut collection of poetry, seemingly serendipitous, An autobiographical love story from a husband who faces the
when carefully read, reveals sensitivity and acute observation, loss of his wife to breast cancer. It echoes the original “Love
grounded in metal mettle, which steers a determination towards Story,” except with a happy ending. “Beautiful, powerful, and
self-actualization, while reminding us that tradition is neither timeless in its message,” says author James Fallows. It is a guide to
dead nor capable of stifling self-expression. The world as it finding the true meaning of love in the worst of circumstances,
always is remains a spoken prompt to the poet. with fear, joy and humor. Copies of the book are available at
all bookstores.
www.amazon.com www.theactualdance.com/book1

Ash Tuesday Meditation on Love, Dancing, Loss, and Forgiveness

By Ariadne Blayde By Carmen Bardequez-Brown
April Gloaming Publishing Panom Press

Steeped in the South’s tradition of magical realism, Ash Tuesday Carmen Bardeguez-Brown’s Meditation on Love, Dancing, Loss,
is a character-driven love letter to New Orleans through the lens and Forgiveness is a dance of memory and desire. It is a seamless
of a fascinating subculture: its ghost tours and the eccentrics who combination of poetry and prose—English and Spanish—and
lead them. With her debut, Blayde has carved out a deep and the geographic roots of Ms. Bardeguez-Brown’s life beautifully
uber-readable interpretation of what it means to live, love, and convey her inner journey, at times imagistic, at time expository,
grieve in America’s last true bohemia. always blended into a powerful, natural balance.
www.aprilgloaming.com https://issuu.com/galen44/docs/carmenissuu

µ If you have a book to promote in the New Titles section, e-mail [email protected]
 Roots & Branches: A Family Saga Like No Other Mastering the Knife: Seeking Identity & Finding Belonging
By Michael M. Meguid, MD By Michael M. Meguid, MD
M3 Scientific Media M3 Scientific Media

“Who am I, and why?” Meguid asks after a heart attack. The A coming-of-age story based on biographical events of a
answer lies in a saga of love and longing based on a fatal accident young Egyptian medical student in 1960’s hedonistic London.
in an Upper Egyptian village a century ago. In this powerful Powerful forces are arrayed against him agitating for defeat
multigenerational story, Meguid explores the pain and chal- and failure. The story reaches beyond the purely personal to
lenges of his multicultural early life, where facing an uncertain lift the veil on the rites, rituals, rules, and language of surgery,
future, Meguid navigates his own course. and conveys something of the people, places, and prejudices
www.amazon.com
of the period. www.amazon.com

FROM THE EDITORS OF HIPPOCAMPUS MAGAZINE

Surgeon & Lover: Fulfillment & Folly Getting to the Truth: The Craft and Practice of Creative
By Michael M. Meguid, MD
M3 Scientific Media GETTING
TO THE
Nonfiction
Edited by Rae Pagliarulo and Donna Talarico
Books by Hippocampus
The personal journey of a surgeon struggling to navigate cultural
morals while conflicted by love amid the stresses of operating, TRUTH Inspired by Hippocampus Magazine’s annual conference, Getting to
healing, and staving off death. the Truth features 20+ essays about writing, editing, publishing,
THE
and promoting true stories. Whether you’re new to creative
CRAFT AND
OF
PrACTICE nonfiction, want to experiment with new forms of storytelling,
CrEATIVE NONFICTION or wish to improve your craft, this collection has something
for you.
www.amazon.com http://books.hippocampusmagazine.com

N I N E St. Petersburg Review, Issue Nine Springhouse Journal 6

“…His mother had been there, in that unfamiliar yard, and this St. Petersburg Review’s online journal, springhousejournal.com,
idea too gave him comfort and hurt, mostly hurt. The young presents an issue featuring contemporary writing in translation
mischievous lad, who threw tantrums, who got beaten with a from women living in Lusophone countries. Guest edited by
ruler, who got annoyed, remained there, lying on the ground, Oona Patrick with an introduction by Katherine Vaz. Works
his arms around the goat, crying. He was a boy who had lost his include “How to Write the Revolution” by Susana Moreira
mother…”—Livros, José Luís Peixoto, SPR 9. Marques translated by Julia Sanches, poetry by Rosa Alice
Branco translated by Alexis Levitin, and Maria Teresa Horta
translated by M.B. McClatchey and Edite Cunha.
www.stpetersburgreview.com www.stpetersburgreview.com

Jesus-Judas: Best Friends Forever Redshift, Blueshift

By Ralph E. Jarrells By Jordan Silversmith
WordCrafts Press Gival Press

Who was Judas Iscariot and where did he come from? Judas was Winner of the Gival Press Novel Award. A dystopian novel
certainly the most enigmatic character in the Bible. Out of place: about a prisoner, with hints of Kakfa and Orwell. “Piercingly
11 disciples were Galileans, Judas was Judean. Most trusted: he eerie”—Kirkus Reviews. “Capturing the befuddlement of sus-
kept the money. He was seated next to Jesus at the last supper tained imprisonment…”—Foreword Reviews, 4-starred review.
and probably in the most honored seat. Jesus-Judas is a plausible
look at their relationship.
www.jesus-judas.com www.givalpress.com

To Be To Is To Was Sinking Islands

By Stephen C. Bird By Cai Emmons
Red Hen Press
Sunnie Deelite and Isabella Gloucester forge their creative
identities while fending off the torments of illusory love. Bronwyn Artair, a meteorologist with the power to change the
Amourrica Profunda transforms into Mourrzicka and finally weather, realizes her impact on the world, as a lone individual,
into Isolamicka. Turmerico Inflammatorio wreaks havoc as the is limited. So she gathers a small group of like-minded people
leader of turbulent Isolamicka. Humans escape the dying Blue from around the world, and takes them to the wilds of New
Green Planet to start anew on Planet Gorp. In the Androgynous Hampshire to teach them her skill. A cli-fi novel that is not
Galaxy, intergalactic witches battle for supremacy. dystopic.
www.amazon.com www.caiemmonsauthor.com
 april 2022
Join in this year’s
celebration

sign up to read
poem-a-day,
curated in April by
Naomi Shihab Nye

claim your free copy

of the official national
poetry month poster
encourage students to
participate in the
dear poet project
attend poetry &
academy of the creative mind
amerıcan virtually on April 28

Learn more at Poets.org/npm

#NationalPoetryMonth
 GR A N T S & AWA R DS

POETS & WRITERS MAGAZINE ANNOUNCES state, national, and international prizes in poetry, fiction, creative nonfiction,
and translation. We list only prizes of $1,000 or more, prizes of $500 or more that charge no entry fee, and prestigious nonmonetary
awards. Applications and submissions for the following prizes are due shortly. Before submitting a manuscript, first visit the sponsoring
organization’s website for complete guidelines. When requesting information by mail, enclose a self-addressed, stamped envelope (SASE).
See Submission Calendar for deadlines arranged by date. For announcements of recently awarded prizes, see Recent Winners.

Deadlines
Academy of American Poets the previous year. Publishers or transla- [email protected]
LENORE MARSHALL POETRY PRIZE tors may submit a book translated from literarytranslators.org/awards
A prize of $25,000 is given annually Chinese, Hindi, Japanese, Kannada,
for a poetry collection by a living poet Korean, Sanskrit, Tamil, Thai, or Vi- Arts & Letters
published in the United States during etnamese into English and published in ARTS & LETTERS PRIZES
the previous year. The winner also 2021 by April 18. There is no entry fee. Three prizes of $1,000 each and publi-
receives an all-expenses paid 10-day Visit the website for the required entry cation in Arts & Letters are given annu-
residency at the Glen Hollow cottage form and complete guidelines. ally for a group of poems, a short story,
in Naples, New York. Copies of the (SEE RECE NT WIN NE RS .) and an essay. Allison Joseph will judge
winning book are distributed to mem-
ITALIAN PROSE IN TRANSLATION AWARD in poetry, Andrew Porter will judge in
bers of the Academy of American Po-
ets. Using only the online submission A prize of $5,000 is given annually for a fiction, and Gayle Brandeis will judge
system, U.S. publishers may submit a book of fiction or nonfiction translated in nonfiction. Using only the online
PDF of a book published in 2021 with from Italian into English and published submission system, submit up to four
a $75 entry fee by May 15. Visit the in the previous year. Publishers or poems of any length or up to 25 pages
website for complete guidelines. translators may submit a book published of prose with a $20 entry fee by March
in 2021 by April 18. There is no entry
JAMES LAUGHLIN AWARD 31. All entries are considered for pub-
fee. Visit the website for the required
A prize of $5,000 is given annually for a lication. Visit the website for complete
entry form and complete guidelines.
second book of poetry by a living poet guidelines. ( S EE R EC EN T W I NN E RS . )
(SEE RECE NT WIN NE RS .)
to be published in the coming calendar
Arts & Letters, Arts & Letters Prizes,
year. The winner also receives an all- NATIONAL TRANSLATION AWARDS
expenses paid weeklong residency at the Two prizes of $2,500 each are given Georgia College, Campus Box 89,
Betsy Hotel in Miami Beach, Florida. annually for a book of poetry and a Milledgeville, GA 31061. (478) 445-1289.
Copies of the winning book are dis- book of prose translated from any Laura Newbern, Editor.
tributed to members of the Academy of language into English and published in artsandletters.gcsu.edu
American Poets. Using only the online the previous year. For the poetry prize,
submission system, U.S. publishers may poetry collections and verse dramas in Ashland Poetry Press
submit a PDF of a manuscript of at least translation are eligible; for the prose RICHARD SNYDER MEMORIAL
48 pages that has come under contract prize, short story and essay collections, PUBLICATION PRIZE
and will be published in 2023 by May novels, memoirs, prose drama, and A prize of $1,000, publication by
15. There is no entry fee. Visit the web- hybrid prose works in translation are Ashland Poetry Press, and 25 author
site for complete guidelines. eligible. Publishers may submit a book copies is given annually for a poetry
Academy of American Poets, 75 Maiden published in 2021 by April 18. The collection. Mark Irwin will judge. Us-
Lane, Suite 901, New York, NY 10038. entry fee is $50 for presses that publish ing only the online submission system,
[email protected] more than 10 titles each year and $30 submit a manuscript of 48 to 96 pages
poets.org/academy-american-poets/american for presses that publish 10 or fewer
-poets-prizes
with a $27 entry fee by April 30. Visit
titles each year. Visit the website for
the website for complete guidelines.
the required entry form and complete
American Literary Translators (SE E RE CE NT W IN N ER S.)
guidelines. (SE E RE CENT W IN NE RS .)
Association Ashland Poetry Press, Richard Snyder
LUCIEN STRYK ASIAN TRANSLATION American Literary Translators
Association, University of Arizona, Memorial Publication Prize, Ashland
PRIZE
A prize of $6,000 is given annually for Esquire Building #205, 1230 North Park University, 401 College Avenue, Ashland,
a book of poetry or a text from Zen Avenue, Tucson, AZ 85721. Rachael OH 44805. (419) 289-5789. Deborah
Buddhism translated from an Asian Daum, Communications and Awards Fleming, Director. [email protected]
language into English and published in Manager. ashlandpoetrypress.com

77 POETS & WRITERS

 GR A N T S & AWA R DS

Atlanta Review Australian Book Review, Elizabeth Jolley England. [email protected]

INTERNATIONAL POETRY CONTEST Short Story Prize, Studio 2, 207 City banipaltrust.org.uk/prize
A prize of $1,000 and publication in Road, Southbank VIC 3006, Australia.
Deadlines

Atlanta Review is given annually for [email protected] Bellingham Review

a single poem. Using only the online australianbookreview.com.au/prizes-programs LITERARY AWARDS
submission system, submit up to five /elizabeth-jolley-story-prize Three prizes of $1,000 each and pub-
poems of any length with a $15 entry fee lication in Bellingham Review are given
by May 1. All entries are considered for Banipal Trust for Arab annually for works of poetry, fiction,
publication. Visit the website for com- Literature and creative nonfiction. The 49th Paral-
plete guidelines. (S E E RE CE NT WI N NE R S .) SAIF GHOBASH BANIPAL PRIZE FOR lel Award for Poetry is given for a poem
Atlanta Review, International Poetry ARABIC LITERARY TRANSLATION or group of poems. The Tobias Wolff
Contest, 686 Cherry Street NW, Suite 333, A prize of £3,000 (approximately $3,965) Award for Fiction is given for a short
Atlanta, GA 30332. Karen Head, Editor. is given annually for a book of poetry story or a flash fiction piece. The Annie
atlantareview.com/guidelines/international-poetry or fiction translated from Arabic into Dillard Award for Creative Nonfiction
-contest English and published for the first time is given for an essay or a flash nonfiction
in English during the previous year. piece. Using only the online submission
Australian Book Review Translations of Arabic works of poetry system, submit up to three poems of
ELIZABETH JOLLEY SHORT STORY PRIZE or fiction originally published in 1967 or any length, three pieces of flash fiction
A prize of AUD $6,000 (approximately later are eligible. Publishers may submit or nonfiction of up to 1,500 words each,
$4,272) is given annually for a story. A five copies of a book published between or a story or essay of up to 4,000 words
second-place prize of AUD $4,000 (ap- April 1, 2021, and March 31, 2022, with with a $20 entry fee ($10 for each ad-
proximately $2,848) and a third-place
three copies of the original work by ditional entry) by March 15. All entries
prize of AUD $2,500 (approximately
March 31. There is no entry fee. Visit are considered for publication. Visit the
$1,780) are also given. The winners
the website for the required entry form website for complete guidelines.
will all be published in Australian Book
and complete guidelines. Bellingham Review, Literary Awards,
Review. Using only the online submis-
sion system, submit a story of 2,000 to Banipal Trust for Arab Literature, Saif Western Washington University, Mail
5,000 words with an AUD $25 (approxi- Ghobash Banipal Prize for Arabic Stop 9053, Bellingham, WA 98225.
mately $18) entry fee by May 2. Visit the Literary Translation, Society of Authors, B. Woods, Managing Editor.
website for complete guidelines. 24 Bedford Row, London WC1R 4TQ, bhreview.org

CONVERSE UNIVERSITY
The first book in the new Converse MFA collaborative series
with Clemson University Press, poetry anthology “Ice On a Hot
Stove: Poetry from the Converse MFA” is forthcoming in late
May 2021. Edited by Denise Duhamel and Rick Mulkey, the
anthology will be launched at the 2021 MFA summer residency.

Fiction • Nonfiction • Poetry • YA Fiction

Award-Winning Faculty
Marlin Barton Cary Holladay Robert Olmstead
Suzanne Cleary Ashley M. Jones Leslie Pietrzyk
Tyree Daye Rick Mulkey Spencer Reece
Denise Duhamel (MFA Program Director) Susan Tekulve
Geoff Herbach Sheila O’Connor Richard Tillinghast

Publishing Opportunities: The Clemson-Converse Literature Series, a

partnership between Converse & Clemson, publishes poetry collections, short-
story collections, and creative nonfiction plus the series features a biennial
publishing prize for Converse MFA alumni and students. In addition, South
85 Journal is a semi-annual online journal run by Converse MFA students
publishing fiction, non-fiction, poetry, reviews, and art by new, emerging, and
well-established writers & artists.

PRIORITY APPLICATION FOR APPLICATION &

DEADLINE: SCHOLARSHIP INFORMATION:
February 15 & October 1 converse.edu/mfa

MARCH APRIL 2022 78

 GR A N T S & AWA R DS

Beloit Poetry Journal Black Lawrence Press, Hudson Prize, £9 (approximately $12) by May 4. All
ADRIENNE RICH AWARD FOR POETRY 279 Claremont Avenue, Mt. Vernon, NY entries are considered for publica-
A prize of $1,500 and publication in 10552. [email protected]

Deadlines
tion. Visit the website for complete
Beloit Poetry Journal is given annually blacklawrencepress.com
guidelines.
for a single poem. Using only the online
submission system, submit up to three Breakwater Review Bristol Short Story Prize, Unit 5.16,
poems totaling no more than 10 pages PESEROFF PRIZE
Paintworks, Bath Road, Bristol BS4
with a $15 entry fee by April 30. All A prize of $1,000 and publication in
Breakwater Review is given annually for a 3EH, England. Joe Melia, Coordinator.
entries are considered for publication.
Visit the website for complete guide- single poem. Submit three poems of any [email protected]
lines. (S EE R E CE NT WI NN ER S. ) length with a $10 entry fee by May 1. bristolprize.co.uk
All entries are considered for publica-
Beloit Poetry Journal, Adrienne Rich
tion. Visit the website for complete Carve
Award for Poetry, P.O. Box 1450,
guidelines. RAYMOND CARVER SHORT STORY
Windham, ME 04062. Rachel Contreni
Flynn and Kirun Kapur, Editors. Breakwater Review, Peseroff Prize, CONTEST
[email protected] University of Massachusetts, MFA A prize of $2,000 and publication in
bpj.org Program in Creative Writing, 100
Carve is given annually for a short
Morrissey Boulevard, Boston, MA 02125.
Black Lawrence Press Jonny Lipshin, Editor in Chief. story. Using only the online submission
HUDSON PRIZE [email protected] system, submit a story of up to 10,000
A prize of $1,000, publication by Black breakwaterreview.com/contests words with a $17 entry fee by May 15.
Lawrence Press, and 10 author copies
Visit the website for complete guide-
is given annually for a collection of Bristol Short Story Prize
poems or short stories. The editors will A prize of £1,000 (approximately $1,322) lines. (S EE R E CE NT WIN N ERS . )
judge. Using only the online submission and publication in Bristol Short Story Carve, Raymond Carver Short Story
system, submit a poetry manuscript of Prize Anthology Volume 15 is given annu-
Contest, P.O. Box 701510, Dallas, TX
45 to 95 pages or a fiction manuscript of ally for a short story. Tom Drake-Lee,
120 to 280 pages with a $27 entry fee by Irenosen Okojie, and Jessica Taylor 75370. Anna Zumbahlen, Editor in Chief.
March 31. Visit the website for complete will judge. Submit a short story of up [email protected]
guidelines. ( S EE R ECE NT W I N NE R S .) to 4,000 words with an entry fee of carvezine.com/home

2021 Omnidawn Broadside Poetry Prize

Judged by Thylias Moss
No'U Revilla
“Iwi hilo means thigh bone means core of one's being”
The Finalists (in alphabetical order by last name) are:
Blanche Brown Gabriel Jesiolowski Marisol Sobek Jayson Keery Weingarten Katie Yen
Philadelphia, Akron, Austin, Holyoke, Fremont,
Pennsylvania Ohio Texas Massachusetts California

Upcoming Omnidawn Poetry Contests

$1,000 Single Poem Broadside $1,000 Poetry Chapbook
Judge: Martha Ronk Fee: $10 Judge: Ruth Ellen Kocher Fee: $18
March 1 – April 18, 2022 May 1 – June 13, 2022
Postal & online submissions—For details: www.omnidawn.com/contest

79 POETS & WRITERS

 GR A N T S & AWA R DS

Crook’s Corner Book Prize Dayton Literary Peace Prize Natasha Brown, Anton Hur, Ottessa
Foundation Foundation Moshfegh, and Joanna Walsh will judge.
BOOK PRIZE LITERARY AWARDS Submit a story of up to 2,000 words with
Deadlines

A prize of $5,000 is given annually for a Two prizes of $10,000 each are given a €20 (approximately $23) entry fee, €10
debut novel set in the American South. annually for a book of fiction and a book (approximately $11) for each additional
The author may live anywhere, but of nonfiction (including creative nonfic-
entry, with a maximum of five entries
eligible novels must be set primarily in tion) published in the previous year that
“foster peace, social justice, and global per person, by April 15. Visit the website
Alabama, Arkansas, Florida, Georgia, for complete guidelines.
understanding.” A runner-up for each
Kentucky, Louisiana, Maryland, Missis-
prize will receive $5,000. Publishers Desperate Literature, Short Fiction Prize,
sippi, North Carolina, Oklahoma, South may submit any number of books pub-
Carolina, Tennessee, Texas, Virginia, Calle Campomanes 13, 28013 Madrid,
lished in 2021 with a $100 entry fee per Spain. Terry Craven and Charlotte
West Virginia, or Washington, D.C. title by March 7. Visit the website for
Self-published books are eligible, but Delattre, Co-owners.
the required entry form and complete
books available only as e-books are guidelines. [email protected]
not. Ben Fountain will judge. Authors desperateliterature.com/prize
Dayton Literary Peace Prize Foundation,
and publishers may submit two copies Literary Awards, P.O. Box 461, Wright
of a book (or bound galleys) published DIAGRAM/New Michigan Press
Brothers Branch, Dayton, OH 45409.
between January 1, 2021, and May 15, CHAPBOOK CONTEST
(937) 298-5072. Sharon Rab, Founder
2022, with a $35 entry fee postmarked and President. A prize of $1,000, publication by New
by May 15. Visit the website for the [email protected] Michigan Press, and 25 author cop-
required entry form and complete daytonliterarypeaceprize.org ies is given annually for a chapbook of
guidelines. ( S E E R E CE N T WI NNER S .) poetry, fiction, creative nonfiction, or
Desperate Literature hybrid-genre work. Ander Monson will
Crook’s Corner Book Prize Foundation, SHORT FICTION PRIZE
Book Prize, 110 Cedar Pond Lane, Chapel judge. Submit a manuscript of 18 to 44
A prize of €1,500 (approximately $1,694)
Hill, NC 27517. (919) 942-3713. Anna and a weeklong residency at the Civi- pages with a $20 entry fee by April 29.
Hayes, President. tella Ranieri Foundation’s castle in the All entries are considered for publica-
[email protected] Umbria region of Italy will be given tion. Visit the website for complete
crookscornerbookprize.com annually for a work of short fiction. guidelines.

THE MFA PROGRAM FOR WRITERS AT WARREN WILSON COLLEGE

Celebrating 45 years of excellence

The nation’s premier low-residency MFA program

FOUNDED BYY ELLEN BRYANT

T VOIGT IN 1976

www.wwcmfa.org Asheville, North Carolina

MARCH APRIL 2022 80

 GR A N T S & AWA R DS

DIAGRAM/New Michigan Press, Billy Collins will judge. Submit a poem FL 32816. Jake Wolff, Editor.
Chapbook Contest, University of Arizona, of up to 60 lines with a €14 (approxi- fl[email protected]
English Department, P.O. Box 210067, mately $16) entry fee for online entries floridareview.cah.ucf.edu

Deadlines
Tucson, AZ 85721. Ander Monson, Editor. or €16 (approximately $18) for postal
[email protected] entries by March 31. All entries are con- Fourth Genre
thediagram.com/contest.html sidered for publication. Visit the website STEINBERG MEMORIAL ESSAY PRIZE
for complete guidelines. A prize of $1,000 and publication in
Elixir Press Fourth Genre is given annually for an
ANTIVENOM POETRY AWARD
Fish Publishing, Poetry Prize, Coomkeen, essay. Mary Cappello will judge. Using
A prize of $1,000 and publication by Durrus, Bantry, County Cork, Ireland P75 only the online submission system, sub-
Elixir Press is given annually for a first H704. Clem Cairns, Editor. mit an essay of up to 6,000 words with
or second poetry collection. Candice info@fishpublishing.com a $20 entry fee by March 15. All entries
Reffe will judge. Submit a manuscript of fishpublishing.com/competition/poetry-contest are considered for publication. Visit the
at least 48 pages with a $30 entry fee by website for complete guidelines.
Florida Review
March 31. All entries are considered for Fourth Genre, Steinberg Memorial Essay
EDITORS’ AWARDS
publication. Visit the website for com- Prize, Michigan State University, 1405
Three prizes of $1,000 each and publica-
plete guidelines. (S EE RE CE NT WI N NER S .) South Harrison Road, East Lansing, MI
tion in Florida Review are given annually
Elixir Press, Antivenom Poetry Award, for a group of poems, a short story, and 48823. [email protected]
P.O. Box 27029, Denver, CO 80227. an essay. The editors will judge. Submit fourthgenre.byu.edu/steinberg
[email protected] three to five poems or up to 25 pages
elixirpress.com Four Way Books
of prose with a $25 entry fee, which
LEVIS PRIZE IN POETRY
includes a subscription to Florida Review,
Fish Publishing A prize of $1,000 and publication by
POETRY PRIZE
by April 15. All entries are considered Four Way Books is given annually for a
A prize of €1,000 (approximately $1,129) for publication. Visit the website for poetry collection. The winner will also
and publication in the Fish Publishing complete guidelines. be invited to participate in readings ei-
(S E E R EC EN T WI N N ER S. )
anthology is given annually for a single ther virtually or in-person in New York
poem. The winner is also invited to Florida Review, Editors’ Awards, City, as public health guidelines allow.
read at the anthology launch event at University of Central Florida, English Jericho Brown will judge. Using only
the West Cork Literary Festival in July. Department, P.O. Box 161346, Orlando, the online submission system, submit

81 POETS & WRITERS

 GR A N T S & AWA R DS

a poetry manuscript of 48 to 80 pages website for complete guidelines. Ghost Story

with a $30 entry fee by March 31. Visit (SE E R EC EN T WIN N ER S. ) SUPERNATURAL FICTION AWARD
the website for complete guidelines. A prize of $1,500 and publication on the
Deadlines

Gemini Magazine, Short Story Contest,

( S EE REC EN T WI NNE RS .) Ghost Story website is given twice yearly
P.O. Box 1485, Onset, MA 02558. for a short story with a supernatural
Four Way Books, Levis Prize in Poetry,
(339) 309-9757. David Bright, Editor. or magic realism theme. The winning
P.O. Box 535, Village Station, New York,
[email protected] work will also be published in volume
NY 10014. (212) 334-5430.
[email protected] gemini-magazine.com 3 of the anthology 21st Century Ghost
fourwaybooks.com/site Stories. The editors will judge. Submit
Georgia Review a story of 1,500 to 10,000 words with
F(r)iction LORAINE WILLIAMS POETRY PRIZE a $20 entry fee by April 30. Visit the
SHORT STORY CONTEST A prize of $1,500 and publication in website for complete guidelines.
A prize of $1,000 is given twice yearly Georgia Review is given annually for ( SE E RE CEN T W IN NE R S.)
for a short story. Using only the online a single poem. The winner will also Ghost Story, Supernatural Fiction Award,
submission system, submit a story of receive an all-expenses paid trip to give P.O. Box 601, Union, ME 04862. Paul
1,000 to 7,500 words with a $15 entry Guernsey, Editor.
a public reading in Athens, Georgia.
fee by April 28. All submissions are con- theghoststory.com/tgs-fiction-award
Submit up to three poems totaling no
sidered for publication. Visit the website
for complete guidelines. more than 10 pages with a $15 entry fee Hidden River Arts
(there is no fee for current subscribers) PANTHER CREEK BOOK AWARD IN
F(r)iction, Short Story Contest, P.O. Box
460506, Denver, CO 80246. by May 1. All entries are considered for NONFICTION
frictionlit.org/contests publication. Visit the website for com- A prize of $1,000 and publication by
plete guidelines. (S EE R ECE N T WINN ERS . ) Hidden River Publishing is given annu-
Gemini Magazine ally for a book-length work of nonfic-
Georgia Review, Loraine Williams Poetry
SHORT STORY CONTEST tion. The editors will judge. Using only
Prize, University of Georgia, 706A
A prize of $1,000 and publication in the online submission system, submit a
Gemini Magazine is given annually for Main Library, 320 South Jackson Street, memoir, essay collection, biography, or
a short story. The editors will judge. Athens, GA 30602. work of general nonfiction of any length
Submit a story of any length with an thegeorgiareview.com/the-loraine-williams-poetry with a $20 entry fee by April 15. Visit
$8 entry fee by March 31. Visit the -prize the website for complete guidelines.

MARCH APRIL 2022 82

 GR A N T S & AWA R DS

Hidden River Arts, Panther Creek Book [email protected] and any non-coastal area of Southern
Award in Nonfiction, P.O. Box 63927, highdesertmuseum.org/waterston-prize California, from Death Valley to Anza-
Philadelphia, PA 19147. Debra Leigh Borrego Desert State Park. Using only

Deadlines
Scott, Founding Executive Director. Indiana Review the online submission system, submit
[email protected] POETRY AND FICTION PRIZES a manuscript of 48 to 100 pages with
hiddenriverartssubmissions.submittable.com Two prizes of $1,000 each and publica- a $20 entry fee by April 30. All entries
/submit tion in Indiana Review are given annually are considered for publication. Visit the
for a poem and a story. Using only the website for complete guidelines.
High Desert Museum online submission system, submit up to
Inlandia Institute, Hillary Gravendyk
WATERSTON DESERT WRITING PRIZE three poems of any length or a story of
Prizes, 4178 Chestnut Street, Riverside,
A prize of $2,500 is given annually for up to 6,000 words with a $20 entry fee,
CA 92501. (951) 790-2458.
a work of nonfiction that “recognizes which includes a subscription to Indiana
[email protected]
the vital role deserts play worldwide in Review, by March 31. Visit the website
inlandiainstitute.org/books/the-hillary
the ecosystem and the human narrative, for complete guidelines.
-gravendyk-prize
with the desert as both subject and set- Indiana Review, Poetry and Fiction Prizes,
ting.” The winner will also be provided Indiana University, English Department, Iowa City UNESCO City of
with travel and lodging to attend a Ballantine Hall 554, 1020 East Kirkwood Literature
reception and awards ceremony at the PAUL ENGLE PRIZE
Avenue, Bloomington, IN 47405.
High Desert Museum in Bend, Oregon, A prize of $20,000 will be given annu-
[email protected]
in September. Works-in-progress as well ally to a writer “who, like Paul Engle,
indianareview.org/prizes
as published and unpublished prose are represents a pioneering spirit in the
eligible. Using only the online submis- Inlandia Institute world of literature through writing, ed-
sion system, submit up to 10 pages of HILLARY GRAVENDYK PRIZES iting, publishing, or teaching, and whose
nonfiction, a biographical statement, Two prizes of $1,000 each, publica- active participation in the larger issues
and a one-page project description by tion by the Inlandia Institute, and 20 of the day has contributed to the better-
May 1. There is no entry fee. Visit the author copies are given annually for a ment of the world through the literary
website for complete guidelines. poetry collection by a U.S. resident and arts.” Poets, fiction writers, and nonfic-
High Desert Museum, Waterston Desert a poetry collection by a poet residing in tion writers are eligible. Submit a nomi-
Writing Prize, 59800 South Highway 97, Inland Southern California, including nation, including a list of the writer’s
Bend, OR 97702. Riverside and San Bernardino counties works and a statement about how the

Poetry • 9781736577714 • $16 Memoir • 9780996195270 • $19 Fiction • 9780996195256 • $18 Poetry • 9780996195249 • $16 Memoir • 9780996195232 • $20

The publisher of Augsburg University’s low-residency

MFA in Creative Writing program • Minneapolis, MN
TW: @HowlingBirdPrs • FB & IG: @howlingbirdpress
Our titles are available online and at bookstores everywhere.
Fiction • 9780996195218 • $20 Poetry • 9780996195201 • $20
Distributed by Small Press Distribution • spdbooks.org

83 POETS & WRITERS

 GR A N T S & AWA R DS

writer embodies the spirit of the prize, Director. [email protected] website for complete guidelines.
by March 31. There is no entry fee. Self- justbuffalo.org ( SE E RE CEN T W IN NE R S.)
nominations are not allowed. Visit the Leapfrog Press, Global Fiction Prize, P.O.
Deadlines

website for complete guidelines.

Lascaux Review
LASCAUX PRIZE IN POETRY
Box 1293, Dunkirk, NY 14048. Rebecca
Iowa City UNESCO City of Literature, A prize of $1,000 and publication both Cuthbert, Managing Editor.
Paul Engle Prize, 123 South Linn Street, online and in the print edition of Las- fi[email protected]
Iowa City, IA 52240. (319) 887-6100. caux Review is given annually for a single leapfrogpress.com/the-leapfrog-global-fiction
info@iowacityofliterature.org poem. Previously published and unpub- -prize-contest
iowacityofliterature.org/paul-engle-prize lished poems are eligible. Using only
Mad Creek Books
the online submission system, submit
Just Buffalo Literary Center JOURNAL NON/FICTION COLLECTION
up to five poems of any length with a
PRIZE
POETRY FELLOWSHIP $15 entry fee by March 31. All entries
A prize of $1,500 and publication by
A fellowship, which includes a stipend are considered for publication. Visit the
Mad Creek Books, the trade imprint of
of $1,500 and a monthlong residency website for complete guidelines.
Ohio State University Press, is given
in Buffalo will be given annually to a Lascaux Review, Lascaux Prize in Poetry, annually for a collection of short prose.
poet. The fellowship includes lodging 3155 Pebble Beach Drive, #10, Conway, Michelle Herman will judge. Using only
at a private apartment for the month of AR 72034. Wendy Russ, Managing Editor. the online submission system, submit
August 2022 and an invitation to read at [email protected] a collection of short stories, essays, or
a Just Buffalo Literary Center event. Us- lascauxreview.com/contests novellas (or a combination thereof) of
ing only the online submission system, 150 to 350 pages with a $23 entry fee
submit up to 10 pages of poetry and a Leapfrog Press
GLOBAL FICTION PRIZE
($11.50 for BIPOC writers), which in-
curriculum vitae with a $20 entry fee by cludes a subscription to the Journal, by
A prize of $1,000 and publication by
April 1. Visit the website for complete March 21. Visit the website for complete
Leapfrog Press is given annually for a
guidelines. guidelines.
short story collection, novel, or novella.
Just Buffalo Literary Center, Poetry Nancy Pearl will judge. Using only Mad Creek Books, Journal Non/Fiction
Fellowship, 468 Washington Street, 2nd the online submission system, submit Collection Prize, c/o Journal, Ohio
Floor, Buffalo, NY 14203. a manuscript of at least 22,000 words State University, English Department,
(716) 832-5400. Barbara Cole, Artistic with a $35 entry fee by May 3. Visit the 164 Annie and John Glenn Avenue,

MARCH APRIL 2022 84

 GR A N T S & AWA R DS

Columbus, OH 43210. words of prose with a $27 entry fee by (918) 631-3080. Eilis O’Neal, Editor in
[email protected] March 31. All entries are considered Chief. [email protected]
thejournalmag.org/book-prizes/prose-prize for publication. Visit the website for artsandsciences.utulsa.edu/nimrod

Deadlines
complete guidelines.
Marsh Hawk Press North American Review
POETRY PRIZE
Narrative, Winter Story Contest, 2443 TERRY TEMPEST WILLIAMS CREATIVE
A prize of $1,000 and publication by Fillmore Street, #214, San Francisco, CA NONFICTION PRIZE
Marsh Hawk Press is given annually 94115. Tom Jenks, Editor. A prize of $1,000 and publication in
for a poetry collection. John Yau will narrativemagazine.com North American Review will be given
judge. Using only the online submission annually for an essay. Lyric essays,
Nimrod International Journal
system, submit a manuscript of 48 to 84 memoir, personal essays, and literary
NIMROD LITERARY AWARDS
pages with a $25 entry fee by April 30. journalism are eligible. Lacy M. John-
Two prizes of $2,000 each and publica-
Visit the website for complete guide- son will judge. Using only the online
tion in Nimrod International Journal are
lines. submission system, submit an essay of
given annually for a group of poems and
Marsh Hawk Press, Poetry Prize, P.O. 500 to 8,500 words with a $23 entry fee
a work of fiction. A runner-up in each
Box 206, East Rockaway, NY 11518. Sandy by April 1. All entries are considered
category receives $1,000 and publica-
McIntosh, Publisher. for publication. Visit the website for
tion. The winners and runners-up will
[email protected] complete guidelines.
also participate in a virtual awards
marshhawkpress.org ceremony and conference in October. North American Review, Terry Tempest
Submit 3 to 10 pages of poetry or a story Williams Creative Nonfiction Prize,
Narrative University of Northern Iowa, 1222 West
or novel excerpt of up to 7,500 words
WINTER STORY CONTEST 27th Street, Cedar Falls, IA 50614.
A prize of $2,500 and publication in with a $20 entry fee, which includes
a subscription to Nimrod International (319) 273-6455. [email protected]
Narrative is given annually for a short northamericanreview.org
story, a short short story, an essay, or Journal, by April 1. All entries are con-
an excerpt from a longer work of fiction sidered for publication. Visit the website Oberon
or creative nonfiction. A second-place for complete guidelines. POETRY PRIZE
prize of $1,000 is also awarded. The Nimrod International Journal, Nimrod A prize of $1,000 and publication in
editors will judge. Using only the online Literary Awards, University of Tulsa, 800 Oberon is given annually for a single
submission system, submit up to 15,000 South Tucker Drive, Tulsa, OK 74104. poem. Submit up to three poems of no

85 POETS & WRITERS

 GR A N T S & AWA R DS

more than two pages each with an $18 Orison Books to Oversound, by April 30. Visit the
entry fee, which includes an issue of PRIZES IN POETRY AND FICTION website for complete guidelines.
Oberon, by April 10. Visit the website for Two prizes of $1,500 each and publica-
Deadlines

Oversound, Chapbook Prize, University

complete guidelines. tion by Orison Books are given annually
of South Carolina, Humanities Office
Oberon, Poetry Prize, P.O. Box 2236, for a poetry collection and a book of
Building, 1620 College Street, Room 107,
St. James, NY 11780. fiction. Rajiv Mohabir will judge in
poetry and Tania James will judge in fic-
Columbia, SC 29208. (646) 734-4523.
[email protected]
tion. Using only the online submission Samuel Amadon and Liz Countryman,
oberonpoetry.com
system, submit a poetry manuscript of Editors. [email protected]
Omnidawn Publishing 50 to 100 pages or a novel, novella, or oversoundpoetry.com/chapbook
SINGLE POEM BROADSIDE POETRY collection of short stories or flash fiction
CONTEST of at least 30,000 words with a $25 entry Pen Parentis
A prize of $1,000 and publication in fee by April 1. Visit the website for com- WRITING FELLOWSHIP FOR NEW PARENTS
OmniVerse, the online journal of Om- plete guidelines. (S EE R ECE N T WINN ERS . ) A prize of $1,000, a year of mentorship,
nidawn Publishing, is given annually for and publication in Dreamers Creative
Orison Books, Prizes in Poetry and
a single poem. The winner also receives Writing Magazine is given annually to a
Fiction, P.O. Box 8385, Asheville, NC
50 copies of a letterpress broadside fiction writer who is the parent of a child
28814. Luke Hankins, Editor.
of the winning poem. Martha Ronk under the age of 10. The winner also
[email protected]
will judge. Submit a poem of 8 to 24 receives an invitation to give a reading
orisonbooks.com
lines with a $10 entry fee ($5 for each virtually or in New York City, as public
additional poem) by April 18. Visit the Oversound health guidelines allow, in November.
website for complete guidelines. CHAPBOOK PRIZE Submit a story of up to 603 words with
( S EE REC EN T WI NNE RS .) A prize of $1,000, publication by Over- a $15 entry fee by April 17. Visit the
Omnidawn Publishing, Single Poem sound, and 25 author copies is given
website for complete guidelines.
Broadside Poetry Contest, 1632 Elm annually for a poetry chapbook. Sawako
Avenue, Richmond, CA 94805. Nakayasu will judge. Using only the Pen Parentis, Writing Fellowship for New
(510) 237-5472. Ken Keegan and Rusty online submission system, submit a Parents, 176 Broadway, 14F, New York,
Morrison, Coeditors. manuscript of 15 to 30 pages with an $18 NY 10038.
omnidawn.com/contest entry fee, which includes a subscription penparentis.org/fellowships/guidelines

MARCH APRIL 2022 86

 GR A N T S & AWA R DS

Ploughshares Poetry Foundation Poetry International, Poetry International

EMERGING WRITER’S CONTEST RUTH LILLY AND DOROTHY SARGENT Prize, San Diego State University,
Three prizes of $2,000 each and ROSENBERG POETRY FELLOWSHIPS Department of English and Comparative

Deadlines
publication in Ploughshares are given Five fellowships of $25,800 each are giv- Literature, 5500 Campanile Drive, San
annually for a poem or group of poems, en annually to U.S. poets between the Diego, CA 92182. Sandra Alcosser, Editor
a short story, and an essay. Each winner ages of 21 and 31. Using only the online
in Chief. [email protected]
also receives a consultation with the lit- submission system, submit 10 pages of
poetry and a one-page writer’s statement poetryinternational.sdsu.edu/submissions
erary agency Aevitas Creative Manage- /pi-prize.html
by April 30. There is no entry fee. Visit
ment. Writers who have not published
the website for complete guidelines.
a book or a chapbook with a print run (S E E R EC EN T WI N N ER S. ) Press 53
over 300 are eligible. Chen Chen will PRIME NUMBER MAGAZINE AWARDS
Poetry Foundation, Ruth Lilly and
judge in poetry, Amelia Gray will Two prizes of $1,000 each and publi-
Dorothy Sargent Rosenberg Poetry
judge in fiction, and Danielle Geller cation in Prime Number Magazine are
Fellowships, 61 West Superior Street,
will judge in nonfiction. Submit three Chicago, IL 60654. given annually for a poem and a short
to five pages of poetry or up to 6,000 [email protected] story. Faith Shearin will judge in poetry
words of fiction or nonfiction with a poetryfoundation.org/foundation/prizes and Jubal Tiner will judge in fiction. Us-
$24 entry fee (there is no entry fee for -fellowship ing only the online submission system,
current subscribers), which includes a
submit a poem of up to three pages or
subscription to Ploughshares, between Poetry International
POETRY INTERNATIONAL PRIZE a short story of up to 5,300 words with
March 1 and May 15. Visit the website
for complete guidelines. A prize of $1,000 and publication in a $15 entry fee by March 31. Visit the
( S EE R EC E N T WI NNE RS .) Poetry International is given annually for website for complete guidelines.
a single poem. Using only the online Press 53, Prime Number Magazine
Ploughshares, Emerging Writer’s Contest, submission system, submit up to three
Emerson College, 120 Boylston Street, Awards, 560 North Trade Street, Suite
poems of any length with a $15 entry
Boston, MA 02116. (617) 824-3757. Ellen fee ($3 for each additional poem) by 103, Winston-Salem, NC 27101.
Duffer, Managing Editor. April 30. All entries are considered for (336) 770-5353. Kevin Morgan Watson,
[email protected] publication. Visit the website for com- Publisher.
pshares.org plete guidelines. press53.com/prime-number-magazine-awards

87 POETS & WRITERS

 GR A N T S & AWA R DS

Restless Books Ruminate, by May 15. Visit the website only the online submission system, sub-
PRIZE FOR NEW IMMIGRANT WRITING for complete guidelines. mit up to five poems totaling no more
A prize of $10,000 and publication by Ruminate, Janet B. McCabe Poetry Prize, than 10 pages or up to 20 pages of prose
Deadlines

Restless Books is given in alternating P.O. Box 680, Ft. Collins, CO 80522. Jess with a $5 entry fee by April 23. Visit the
years for a debut book of fiction or non- Jelsma Masterton, Editor. website for complete guidelines.
fiction by a first-generation immigrant. ruminatemagazine.com Sixfold, Poetry and Short Story Awards,
The 2022 prize will be given in fiction. 10 Concord Ridge Road, Newtown, CT
Writers who have not published a book Saturnalia Books 06470. (203) 491-0242. Garrett Doherty,
of fiction in English are eligible. Using POETRY PRIZE
Publisher. [email protected]
only the online submission system, sub- A prize of $1,500, publication by Sat-
sixfold.org
mit a novel or collection of short stories urnalia Books, and 20 author copies is
of at least 45,000 words, a curriculum given annually for a poetry collection. Sonora Review
vitae, and a one-page cover letter by Roberto Tejada will judge. All entries ANNUAL CONTESTS
March 31. There is no entry fee. Visit will also be considered for the Editors Two prizes of $1,000 each and pub-
the website for complete guidelines. Prize, which awards $1,000 and publica- lication in Sonora Review are given
Restless Books, Prize for New Immigrant tion. Using only the online submission annually for a short story and an essay
Writing, 232 3rd Street, Suite A101, system, submit a manuscript of at least
on a theme. The 2022 contest theme is
Brooklyn, NY 11215. Ilan Stavans, 48 pages with a $30 entry fee by April 1.
“Rage.” Using only the online submis-
Publisher. [email protected] All entries are considered for publica-
sion system, submit up to 5,000 words
restlessbooks.org/prize-for-new-immigrant tion. Visit the website for complete
of prose with a $20 entry fee by March
-writing guidelines.
27. All entries are considered for pub-
Saturnalia Books, Poetry Prize, 105 lication. Visit the website for complete
Ruminate Woodside Road, Ardmore, PA 19003. guidelines. (SE E R E CE NT W IN N ER S. )
JANET B. MCCABE POETRY PRIZE saturnaliabooks.com/poetry-prize
A prize of $1,500 and publication in Sonora Review, Annual Contests,
Ruminate is given annually for a single Sixfold University of Arizona, English
poem. Using only the online submission POETRY AND SHORT STORY AWARDS Department, P.O. Box 210067, Modern
system, submit up to two poems of no Two prizes of $1,000 each and publica- Languages Building 445, Tucson, AZ
more than 40 lines each with a $20 en- tion in Sixfold are given quarterly for a 85721.
try fee, which includes the prize copy of group of poems and a short story. Using sonorareview.com

MARCH APRIL 2022 88

 GR A N T S & AWA R DS

Southeast Missouri State a subscription to Spoon River Poetry April 30. Visit the website for complete
University Press Review, by April 15. All entries are con- guidelines.
COWLES POETRY BOOK PRIZE sidered for publication. Visit the website

Deadlines
Trio House Press, 2191 High Rigger Place,
A prize of $2,000, publication by South- for complete guidelines.
east Missouri State University Press, Fernandina Beach, FL 32034.
Spoon River Poetry Review, Editors’
and 30 author copies is given annually (978) 821-1630. Tayve Neese,
Prize, Illinois State University, English
for a poetry collection. Using only the Department, 4241 Publications Unit, Co-executive Editor.
online submission system, submit a [email protected]
Normal, IL 61790.
manuscript of 48 to 100 pages with a $25 triohousepress.org/submit.html
srpr.org/contest.php
entry fee by April 1. Visit the website for
complete guidelines. Trio House Press Trustees of the Robert Frost
Southeast Missouri State University LOUISE BOGAN AWARD Farm
Press, Cowles Poetry Book Prize, 1 A prize of $1,000, publication by Trio FROST FARM PRIZE
University Plaza, Mail Stop 2650, Cape House Press, and 20 author copies is A prize of $1,000 is given annually for
Girardeau, MO 63701. James Brubaker, given annually for a poetry collection.
Publisher. [email protected] a poem written in metrical verse. The
Ed Bok Lee will judge. Using only the
semopress.com/events/cowles-prize online submission system, submit a winner also receives a scholarship to
manuscript of 48 to 70 pages with a $25 attend and give a reading at the Frost
Spoon River Poetry Review entry fee by April 30. Visit the website Farm Poetry Conference in Derry,
EDITORS’ PRIZE
for complete guidelines. New Hampshire, in June. Allison
A prize of $1,000 and publication in
Spoon River Poetry Review is given annu- TRIO AWARD FOR FIRST OR SECOND Joseph will judge. Submit any number
ally for a single poem. The winner also BOOK of poems with a $6 entry fee per poem
receives a $500 honorarium and travel A prize of $1,000, publication by Trio by March 31. Visit the website for com-
and lodging expenses to give a reading House Press, and 20 author copies is plete guidelines. (SE E R E CE NT W IN N E RS .)
at the Spoon River Poetry Review annual given annually for a first or second
poetry collection. Aileen Cassinetto will Trustees of the Robert Frost Farm, Frost
gala at Ewing Manor in Bloomington,
Illinois, in April, as public health guide- judge. Using only the online submis- Farm Prize, c/o Robert Crawford, 280
lines allow. Submit up to three poems sion system, submit a manuscript of Candia Road, Chester, NH 03036.
with a $20 entry fee, which includes 48 to 70 pages with a $25 entry fee by frostfarmpoetry.org/prize

6HDWWOH3DFLƇF8QLYHUVLW\œV low-residency
MFA program is for apprentice writers who

0)$ IN CREATIVE want to pursue accomplishment in the craft

of writing, and a greater understanding of the
WRITING relationship between faith and literature.
0HULW6FKRODUVKLSV$YDLODEOH

&25()$&8/7< Jennifer Maier

Susanne Antonetta Gina Ochsner
Bryan Bliss Mischa Willett
Scott Cairns Lauren Winner
Robert Clark Sara Zarr

5(&(179,6,7256 Marilyn Nelson

Uwem Akpan Richard Rodriguez
Jericho Brown Mary Szybist
Robert Cording Christian Wiman
David James Duncan
Carolyn Forché
Dana Gioia /($51025(
Patricia Hampl spu.edu/mfa
Pam Houston 800-601-0603
Karen An-hwei Lee
Bret Lott
Thomas Lynch
David McGlynn
Debra Monroe

POETRY | FICTION | CREATIVE NONFICTION | YOUNG-ADULT FICTION

89 POETS & WRITERS

 GR A N T S & AWA R DS

TulipTree Publishing Tupelo Press, Berkshire Prize, P.O. Box the month of April. Visit the website for
WILD WOMEN STORY CONTEST 1767, North Adams, MA 01247. complete guidelines.
A prize of $1,000 and publication in (413) 664-9611. University of Iowa Press, Iowa Poetry
Deadlines

TulipTree Review is given annually for a tupelopress.org/contests Prize, 119 West Park Road, 100 Kuhl
poem, a short story, or an essay “writ- House, Iowa City, IA 52242.
ten by anyone, whose main character University of Arkansas Press
(319) 335-2000. James McCoy, Director.
embodies the Wild Woman spirit.” ETEL ADNAN POETRY PRIZE
uipress.uiowa.edu/authors/iowa-prize.htm
The winner will also receive a two-year A prize of $1,000 and publication by
subscription to the literary database University of Arkansas Press is given University of Nebraska Press
Duotrope. Submit a poem, a story, or annually for a first or second poetry BACKWATERS PRIZE
an essay of up to 10,000 words with a collection by a writer of Arab heritage. A prize of $2,000, publication by Uni-
$20 entry fee by March 8. All entries Series editors Hayan Charara and Fady versity of Nebraska Press, and 20 author
are considered for publication. Visit the Joudah will judge. Using only the online copies is given annually for a poetry col-
website for complete guidelines. submission system, submit a manuscript lection. An honorable mention prize of
of 48 to 90 pages with a $25 entry fee by $1,000 and publication by University of
TulipTree Publishing, Wild Women Story
April 15. Visit the website for complete Nebraska Press will also be given. Using
Contest, P.O. Box 133, Seymour, MO
guidelines. only the online submission system,
65746. Jennifer Top, Contact.
[email protected] University of Arkansas Press, Etel Adnan submit a manuscript of 60 to 85 pages
tuliptreepub.com/wild-women-contest.html Poetry Prize, McIlroy House, 105 North with a $30 entry fee by May 1. Visit the
McIlroy Avenue, Fayetteville, AR 72701. website for complete guidelines.
Tupelo Press (479) 575-7258. [email protected] University of Nebraska Press,
BERKSHIRE PRIZE uapress.com/eteladnanpoetryseries Backwaters Prize, 1225 L Street, Suite
A prize of $3,000, publication by Tupelo 200, Lincoln, NE 68588.
Press, and 20 author copies is given University of Iowa Press nebraskapress.unl.edu/the-backwaters-press
annually for a first or second poetry col- IOWA POETRY PRIZE
lection. Submit a manuscript of 48 to 88 Publication by University of Iowa Press University of Pittsburgh Press
pages with a $30 entry fee by April 30. is given annually for a poetry collec- AGNES LYNCH STARRETT POETRY PRIZE
All entries are considered for publica- tion. Using only the online submission A prize of $5,000 and publication by
tion. Visit the website for complete system, submit a manuscript of 50 to University of Pittsburgh Press is given
guidelines. 150 pages with a $20 entry fee during annually for a debut poetry collection.

NEW
d
LSU
PRESS
AVAILABLE
IN BOOKSTORES
AND ONLINE AT
WWW.LSUPRESS.ORG
$19.95 paperback $19.95 paperback $18.95 paperback $18.95 paperback

$17.95 paperback $17.95 paperback $17.95 paperback $19.95 paperback $27.95 paperback

MARCH APRIL 2022 90

 GR A N T S & AWA R DS

Using only the online submission Visit the website for complete guide- Whiting Foundation, Creative Nonfiction
system, submit a manuscript of 48 to lines. Grants, 291 Broadway, Suite 1901, New
100 pages and a curriculum vitae with ˇ York, NY 10007. (718) 701-5962.

Deadlines
Verse, Tomazˇ Salamun Prize, University
a $25 entry fee between March 1 and
of Richmond, English Department, [email protected]
April 30. Visit the website for complete
guidelines. 106 UR Drive, Richmond, VA 23173. whiting.org/writers/creative-nonfiction-grant
(804) 287-6431. Brian Henry, Prize /about
University of Pittsburgh Press, Agnes
Administrator.
Lynch Starrett Poetry Prize, 7500 Thomas
[email protected] Wick Poetry Center
Boulevard, Fourth Floor, Pittsburgh, PA
verse.submittable.com/submit STAN AND TOM WICK POETRY PRIZE
15260. Chloe Wertz, Contact.
[email protected] A prize of $2,500 and publication by
Whiting Foundation
upittpress.org/prize/agnes-lynch-starrett-poetry Kent State University Press is given
CREATIVE NONFICTION GRANTS
-prize annually for a debut poetry collection.
Up to eight grants of $40,000 each are
given annually for creative nonfiction The winner is also invited to teach a
Verse
weeklong writing workshop at Kent
ˇˇ
TOMAZ SALAMUN PRIZE works-in-progress to enable writ-
A prize of $1,000 and publication by ers to complete their books. Creative State University and give a reading
Factory Hollow Press is given annually nonfiction writers under contract with the judge. Using only the online
for a poetry chapbook. The winner will with a publisher as of April 25 are submission system, submit a manuscript
also receive a monthlong residency in eligible. Submit up to 25,000 words of 50 to 70 pages with a $30 entry fee by
summer 2023 in a private apartment at of the book-in-progress, the original May 1. Visit the website for complete
the Tomaž Šalamun Center for Poetry
proposal to publishers that led to the guidelines.
in Ljubljana, Slovenia. Prose poetry,
contract, a signed contract, a statement
hybrid works, and translations of works Wick Poetry Center, Stan and Tom Wick
of poetry by living writers from any of progress, a plan for the use of funds,
a résumé, and a letter of support from Poetry Prize, Kent State University, P.O.
language into English are also eligible.
the book’s editor or publisher by April Box 5190, Kent, OH 44240. Jessica Jewell,
Ilya Kaminsky will judge. Using only
the online submission system, submit a 25. There is no entry fee. Visit the Senior Academic Program Director.
manuscript of 20 to 28 pages with a $17 website for complete guidelines. [email protected]
entry fee ($13 for students) by March 15. (S E E R EC EN T WI N N ER S. ) kent.edu/wick/stan-and-tom-wick-poetry-prize

91 POETS & WRITERS

 GR A N T S & AWA R DS

Winning Writers
TOM HOWARD/JOHN H. REID FICTION
AND ESSAY CONTEST
Submission Calendar
Deadlines

Two prizes of $3,000 each, two-year

gift certificates for membership to the
literary database Duotrope, and publi-
cation on the Winning Writers website
are given annually for a short story and
March 7
DAYTON LITERARY PEACE PRIZE
FOUNDATION
Literary Awards
7 IOWA CITY UNESCO
CITY OF LITERATURE
Paul Engle Prize
LASCAUX REVIEW
FREE

an essay. Unpublished and previously Lascaux Prize in Poetry

published works are eligible. Using
only the online submission system,
submit a short story or essay of up to
March 8
TULIPTREE PUBLISHING
Wild Women Story Contest
8 NARRATIVE
Winter Story Contest
PRESS 53
6,000 words with a $20 entry fee by Prime Number Magazine Awards
April 30. Visit the website for complete
guidelines. (S EE RE C ENT W I N NE R S .)
WERGLE FLOMP HUMOR POETRY
CONTEST
A prize of $2,000, a two-year gift certifi-
March 15
BELLINGHAM REVIEW
Literary Awards
15 RESTLESS BOOKS
Prize for New Immigrant Writing
TRUSTEES OF THE ROBERT FROST FARM
Frost Farm Prize
FREE

FOURTH GENRE
cate for membership to the literary data-
base Duotrope, and publication on the
Winning Writers website is given an-
nually for a humorous poem. A second-
place prize of $500 is also awarded.
Steinberg Memorial Essay Prize
VERSE
ˇ
Tomazˇ Salamun
THE WORD WORKS
Prize
April 1
JUST BUFFALO LITERARY CENTER
Poetry Fellowship
1
Washington Prize NIMROD INTERNATIONAL JOURNAL
Jendi Reiter will judge. Unpublished and
Nimrod Literary Awards
previously published works are eligible.
Using only the online submission sys-
tem, submit a poem of up to 250 lines by
March 21
MAD CREEK BOOKS
21 NORTH AMERICAN REVIEW
Terry Tempest Williams Creative
Nonfiction Prize
NEW

April 1. There is no entry fee. Visit the

Journal Non/Fiction Collection Prize ORISON BOOKS
website for complete guidelines.
Prizes in Poetry and Fiction
Winning Writers, 351 Pleasant Street Suite
B PMB 222, Northampton, MA 01060.
Adam Cohen, President.
[email protected]
March 27
SONORA REVIEW
Annual Contests
27 SATURNALIA BOOKS
Poetry Prize
SOUTHEAST MISSOURI STATE
winningwriters.com/our-contests UNIVERSITY PRESS
Cowles Poetry Book Prize
The Word Works March 31 WINNING WRITERS
WASHINGTON PRIZE ARTS & LETTERS Wergle Flomp Humor FREE
A prize of $1,500 and publication by the Arts & Letters Prizes Poetry Contest
Word Works is given annually to a U.S.
or Canadian poet for a poetry collec-
tion. Submit a manuscript of 48 to 80
pages with a $25 entry fee by March 15.
BANIPAL TRUST FOR ARAB
LITERATURE
Saif Ghobash Banipal Prize
for Arabic Literary Translation
FREE
April 10
OBERON
10
Visit the website for complete guide- BLACK LAWRENCE PRESS Poetry Prize
lines. Hudson Prize
The Word Works, Washington Prize, P.O. ELIXIR PRESS April 15
Box 42164, Washington, D.C. 20015. Antivenom Poetry Award DESPERATE LITERATURE
wordworksbooks.org/submissions FISH PUBLISHING Short Fiction Prize NEW
/the-washington-prize Poetry Prize FLORIDA REVIEW
FOUR WAY BOOKS Editors’ Awards
Levis Prize in Poetry HIDDEN RIVER ARTS
GEMINI MAGAZINE Panther Creek Book Award in Nonfiction
PW.ORG/GRANTS
Short Story Contest SPOON RIVER POETRY REVIEW
Visit our Grants & Awards database to

31
browse a year’s worth of contests and INDIANA REVIEW Editors’ Prize
sort by entry fee, deadline, or genre, Poetry and Fiction Prizes UNIVERSITY OF ARKANSAS PRESS
and check the Submission Calendar for
upcoming deadlines.

MARCH APRIL 2022 92

Etel Adnan Poetry Prize
15
 GR A N T S & AWA R DS

Deadlines
April 17
PEN PARENTIS
17 POETRY FOUNDATION
Ruth Lilly and Dorothy Sargent
Rosenberg Poetry Fellowships
FREE
UNIVERSITY OF NEBRASKA PRESS
Backwaters Prize
Writing Fellowship for New Parents WICK POETRY CENTER
POETRY INTERNATIONAL Stan and Tom Wick Poetry Prize

April 18
AMERICAN LITERARY
TRANSLATORS ASSOCIATION
18 Poetry International Prize
TRIO HOUSE PRESS
Louise Bogan Award May 2 2
AUSTRALIAN BOOK REVIEW
Lucien Stryk Asian Translation Prize FREE Trio Award for First or Second Book Elizabeth Jolley Short Story Prize
Italian Prose in Translation Award FREE TUPELO PRESS

National Translation Awards

OMNIDAWN PUBLISHING
Single Poem Broadside Poetry Contest
Berkshire Prize
UNIVERSITY OF IOWA PRESS
Iowa Poetry Prize
May 3
LEAPFROG PRESS
Global Fiction Prize
3
4
UNIVERSITY OF PITTSBURGH PRESS

April 23
SIXFOLD
23 Agnes Lynch Starrett Poetry Prize
WINNING WRITERS
Tom Howard/John H. Reid Fiction and
Essay Contest
May 4
BRISTOL SHORT STORY PRIZE

Poetry and Short Story Awards

May 15
April 25
WHITING FOUNDATION
25 May 1
ATLANTA REVIEW
International Poetry Contest
ACADEMY OF AMERICAN POETS
Lenore Marshall Poetry Prize
James Laughlin Award FREE
Creative Nonfiction Grants FREE
BREAKWATER REVIEW CARVE

28 Peseroff Prize Raymond Carver Short Story Contest

April 28 GEORGIA REVIEW CROOK’S CORNER BOOK PRIZE
F(R)ICTION Loraine Williams Poetry Prize FOUNDATION
Short Story Contest Book Prize
HIGH DESERT MUSEUM FREE
PLOUGHSHARES

April 29 29 Waterston Desert Writing Prize

Emerging Writer’s Contest

DIAGRAM/NEW MICHIGAN PRESS

Chapbook Contest

April 30
1
Anatomy of Awards: March/April 2022
RUMINATE
Janet B. McCabe Poetry Prize
15
ASHLAND POETRY PRESS This issue’s Deadlines section lists a total of 90 contests sponsored by 68 organizations
Richard Snyder Memorial Publication (22, or 32 percent, of which are magazines or presses published at colleges and universities),
Prize offering a total of 99 opportunities for writers and translators to win an estimated $683,510
BELOIT POETRY JOURNAL in prize money. Eighty contests (89 percent) charge an entry fee; the median entry fee is
Adrienne Rich Award for Poetry $20. The chart below further breaks down the numbers behind Grants & Awards.

GHOST STORY 99 OPPORTUNITIES TO WIN (BY GENRE)

Supernatural Fiction Award
INLANDIA INSTITUTE Poetry: 48
Hillary Gravendyk Prizes
MARSH HAWK PRESS Fiction: 29
Poetry Prize
OVERSOUND Creative Nonfiction: 17
Chapbook Prize

30 Translation: 5

93
0 10

POETS & WRITERS

20 30 40 50 60
 GR A N T S & AWA R DS

Recent Winners
American Literary Translators American Literary Translators
Association Association, University of Arizona,
LUCIEN STRYK ASIAN TRANSLATION Esquire Building #205, 1230 North Park
PRIZE Avenue, Tucson, AZ 85721. Rachael
Archana Venkatesan of West Sacra- Daum, Communications and Awards
mento, California, won the 2021 Lucien Manager.
Stryk Asian Translation Prize for her [email protected]
translation from the Tamil of Nam- literarytranslators.org/awards
− −
malvar’s epic poem Endless Song (India
Penguin). She received $6,000. Jeffrey Anhinga Press
Angles, Maithreyi Karnoor, and Rajiv ANHINGA PRIZE FOR POETRY
Mohabir judged. The annual award is Craig Beaven of Tallahassee, Florida,
given for a book of poetry or a text from won the 2021 Anhinga Prize for Poetry
Zen Buddhism translated from an Asian for Teaching the Baby to Say I Love You.
language into English and published in He received $2,000, and his book will be
the previous year. ( S EE DEA DL I NE S .) published by Anhinga Press in Sep-
tember. Ellen Bass judged. The annual
ITALIAN PROSE IN TRANSLATION AWARD
Stephen Twilley of Chicago won the award is given for a poetry collection.
2021 Italian Prose in Translation The next deadline is May 31.
A R C H A N A V E N K AT E S A N
Award for his translation from the Ital- Anhinga Press, Anhinga Prize for Poetry, American Literary Translators Association
ian and French of Curzio Malaparte’s P.O. Box 3665, Tallahassee, FL 32315. Lucien Stryk Asian Translation Prize
work of literary nonfiction Diary of a Kristine Snodgrass, Contact.
Foreigner in Paris (New York Review [email protected] K I R S T I N VA L D E Z Q U A D E
Books Classics). He received $5,000. anhingapress.org Center for Fiction
Stiliana Milkova, Minna Zallman First Novel Prize
Proctor, and Will Schutt judged. The Arts & Letters
annual award is given for a book of ARTS & LETTERS PRIZES R I TA W O O D S
fiction or nonfiction translated from L. A. Johnson of Santa Monica, Cali- Hurston/Wright Foundation
Italian into English and published in fornia, won the Arts & Letters Rumi Legacy Award in Debut Fiction
the previous year. ( SEE D EA DL I N ES .) Prize for Poetry for “Where Warm
NATIONAL TRANSLATION AWARDS
and Cool Air Meet,” “Downriver,”
Geoffrey Brock of Fayetteville, Arkan- “Radiant Stranger,” and “House Full
sas, won the 2021 National Transla- of Someones.” Karen Day of Newton,
tion Award in Poetry for his transla- Massachusetts, won the Arts & Letters
tion from the Italian of Giuseppe Prize for Fiction for “The Cellar.” Lee
Ungaretti’s poetry collection Allegria Anne Gallaway-Mitchell of Tucson won
(Archipelago Books). Sinan Antoon, the Susan Atefat Prize for Creative
Layla Benitez-James, and Sibelan Nonfiction for “The Tax of Quick
Forrester judged. Tejaswini Niranjana Alarm.” They each received $1,000,
and their winning works were pub-
quade: holly andres; woods: linda l. phelps

of Ahmedabad, India, won the 2021

National Translation Award in Prose lished in the Fall 2021 issue of Arts
for her translation from the Kannada & Letters. Romeo Oriogun judged in
of Jayant Kaikini’s short story collec- poetry, Novuyo Rosa Tshuma judged
tion No Presents Please: Mumbai Stories in fiction, and Kristi Coulter judged in
(Catapult). Jennifer Croft, Anton Hur, creative nonfiction. The annual awards
and Annie Janusch judged. Brock and are given for a group of poems, a short
Niranjana each received $2,500. The story, and an essay. (S EE D EA DLI NE S. )
annual awards are given for a book of Arts & Letters, Arts & Letters Prizes,
poetry and a book of prose translated Georgia College, Campus Box 89,
from any language into English and Milledgeville, GA 31061. (478) 445-1289.
published in the previous year. Laura Newbern, Editor.
(S E E DE AD LIN ES .) artsandletters.gcsu.edu

95 POETS & WRITERS

 GR A N T S & AWA R DS

Ashland Poetry Press Autumn House Press, Literary Prizes, Leesa Cross-Smith judged. The annual
RICHARD SNYDER MEMORIAL 5530 Penn Avenue, Pittsburgh, PA 15206. award is given for a short story.
PUBLICATION PRIZE autumnhouse.org ( SE E DEA D LIN E S.)
Margaret Mackinnon of Richmond PROSE AND POETRY CONTEST
Bard College
won the 2021 Richard Snyder Memo- Ryan Little of Sacramento, California,
BARD FICTION PRIZE Mona’a Malik of St. John, Canada, and
rial Publication Prize for Afternoon in
Lindsey Drager of Salt Lake City won the Alisha Acquaye of Monticello, New
Cartago. She received $1,000, publica-
2022 Bard Fiction Prize for her novel York, won the 2020 Prose & Poetry
tion by Ashland Poetry Press, and 25
The Archive of Alternate Endings (Dzanc Contest. Little won in poetry for “How
author copies. Maggie Anderson judged.
Books, 2019). She received $30,000 and Do I Set Your Absence Somewhere?”;
The annual award is given for a poetry
a one-semester appointment as writer- Malik won in fiction for “The Girl
collection. (S E E D EA DL INES. ) in-residence at Bard College. The an- With Precise Interests”; and Acquaye
Recent Winners

Ashland Poetry Press, Richard Snyder nual award is given to an emerging U.S. won in nonfiction for “Fruit Snack
Memorial Publication Prize, Ashland writer under the age of 40. The next Fairytale.” They each received $1,000
University, 401 College Avenue, Ashland, deadline is June 15. and their work was published in the
OH 44805. (419) 289-5789. Deborah Bard College, Bard Fiction Prize, Spring 2021 issue of Carve. Roy G.
Fleming, Director. [email protected] Annandale-on-Hudson, NY 12504. Guzmán judged in poetry, Shruti
ashlandpoetrypress.com (845) 758-7087. [email protected] Swamy judged in fiction, and Kendra
bard.edu/bfp Allen judged in nonfiction. The annual
Atlanta Review awards are given for a poem, a short
INTERNATIONAL POETRY CONTEST Beloit Poetry Journal story, and an essay. The next deadline is
Melanie Tafejian of Raleigh, North ADRIENNE RICH AWARD FOR POETRY November 15.
Carolina, won the 2021 International Taylor Byas of Cincinnati won the 2021 Carve, P.O. Box 701510, Dallas, TX 75370.
Poetry Contest for “For Years I Was Adrienne Rich Award for “Tell It Like a Anna Zumbahlen, Editor in Chief.
Afraid to Go Home.” She received a Movie | Rewind.” She received $1,500 [email protected]
prize of $1,000 and publication in the and publication in Beloit Poetry Journal. carvezine.com/home
Fall 2021 issue of Atlanta Review. Katie Natasha Trethewey judged. The annual
Farris judged. The annual award is given award, which is supported by the Adri- Centenary College of Louisiana
for a single poem. ( SE E D EA DLI NE S .) enne Rich Literary Trust, is given for a JOHN WILLIAM CORRINGTON AWARD
single poem. (SE E D EAD L IN ES .) Ruth Ozeki of Northampton, Massachu-
Atlanta Review, International Poetry
Contest, 686 Cherry Street NW, Suite Beloit Poetry Journal, Adrienne Rich setts, won the 31st annual John William
333, Atlanta, GA 30332. Karen Head, Award for Poetry, P.O. Box 1450, Corrington Award for Literary Excel-
Editor. Windham, ME 04062. Rachel Contreni lence. Ozeki, whose most recent book is
atlantareview.com/guidelines/international Flynn and Kirun Kapur, Editors. the novel The Book of Form and Emptiness
-poetry-contest
[email protected] (Viking, 2021), received $5,000. The an-
bpj.org nual award is given to recognize a career
Autumn House Press of dedication to literary excellence.
Black Lawrence Press There is no application process.
LITERARY PRIZES
HUDSON PRIZE Centenary College of Louisiana, John
Sara R. Burnett of Silver Spring, Mary-
Raena Shirali of Philadelphia won the William Corrington Award, English
land, won the 19th annual Autumn
2021 Hudson Prize for her poetry Department, 2911 Centenary Boulevard,
House Poetry Prize for her poetry collection summonings. She received
collection, Seed Celestial. Wendy Wim- Shreveport, LA 71104. (318) 869-5083.
$1,000, and her book will be published Jeanne Hamming, Coordinator.
mer of Green Bay, Wisconsin, won the by Black Lawrence Press. The editors centenary.edu/academics/departments-schools
14th annual fiction prize for her short judged. The annual award is given for /english/corrington-award
story collection, Entry Level. Emily Pifer a collection of poetry or short stories.
of Syracuse, New York, and Laramie, (SE E D EA DL INE S.) Center for Fiction
Wyoming, won the tenth annual nonfic-
Black Lawrence Press, Hudson Prize, FIRST NOVEL PRIZE
tion prize for her memoir, The Run- Kirstin Valdez Quade of Princeton,
279 Claremont Avenue, Mt. Vernon, NY
ning Body. They each received $1,000, 10552. [email protected] New Jersey, won the 2021 First Novel
publication by Autumn House Press in blacklawrencepress.com Prize for The Five Wounds (Norton).
the fall, and a $1,500 travel grant for She received $15,000. The finalists
promotion of their published books. Carve were Priyanka Champaneri of Fairfax,
Eileen Myles judged in poetry, Deesha RAYMOND CARVER SHORT STORY Virginia, for The City of Good Death
Philyaw judged in fiction, and Steve Al- CONTEST (Restless Books), Linda Rui Feng of To-
mond judged in creative nonfiction. The Morgan Green of Abington, Pennsyl- ronto for Swimming Back to Trout River
annual awards are given for a poetry col- vania, won the 2021 Raymond Carver (Simon & Schuster), Honorée Fanonne
lection, a short story collection or novel, Short Story Contest for “Habits.” She Jeffers of Norman, Oklahoma, for The
and a book of creative nonfiction. The received $2,000, and her story was pub- Love Songs of W.E.B. Du Bois (Harper),
next deadline is May 31. lished in the Fall 2021 issue of Carve. Violet Kupersmith of Doylestown,

M A RCH A PR I L 2022 96
 GR A N T S & AWA R DS

Pennsylvania, for Build Your House Conduit Books & Ephemera, Minds
Around My Body (Random House), on Fire Open Book Prize, 788 Osceola
Patricia Lockwood of Savannah for No Avenue, St. Paul, MN 55105. William
One Is Talking About This (Riverhead Waltz, Editor.
Books), and Jackie Polzin of St. Paul for conduit.org
Brood (Doubleday). They each received
$1,000. Alexander Chee, Susan Choi, Crook’s Corner Book Prize
Yaa Gyasi, Raven Leilani, and Dinaw Foundation
Mengestu judged. The annual award is BOOK PRIZE
given for a debut novel published in the Eric Nguyen of Washington, D.C., won
United States during the previous year. the ninth annual Crook’s Corner Book
As of this writing, the next deadline has Prize for Things We Lost to the Water

Recent Winners
not been set. (Knopf). He received $5,000. Ron Rash
Center for Fiction, First Novel Prize, 15 judged. The annual award is given for a
Lafayette Avenue, Brooklyn, NY 11217. debut novel set in the American South.
(S E E D EA DL INES .)
(212) 755-6710.
info@centerforfiction.org Crook’s Corner Book Prize Foundation,
centerforfiction.org/grants-awards Book Prize, 110 Cedar Pond Lane,
/the-first-novel-prize Chapel Hill, NC 27517. (919) 942-3713.
Anna Hayes, President. M A R C I A C H AT E L A I N
Conduit Books & Ephemera [email protected] Hurston/Wright Foundation
MINDS ON FIRE OPEN BOOK PRIZE crookscornerbookprize.com Legacy Award in Nonfiction
David Keplinger of Washington, D.C., SHELLEY HASTINGS
won the 2020 Minds on Fire Open Book Elixir Press Munster Literature Center
dawson: taylor kirby

Prize for The World to Come. He received ANTIVENOM POETRY AWARD Seán O’Faoláin International Short Story
$1,500, and his book was published by Derek Graf of New York City won the Competition
Conduit Books & Ephemera in April 2021 Antivenom Poetry Award for S T E V E N E S P A D A D AW S O N
2021. The editors judged. The annual Green Burial. He received $1,000, and Poetry Foundation
award is given for a poetry collection. his book will be published by Elixir Ruth Lilly and Dorothy Sargent Rosenberg
The next deadline is October 31. Press. Kirun Kapur judged. The annual Poetry Fellowship

97 POETS & WRITERS

 GR A N T S & AWA R DS

award is given for a first or second po- Florida Review Books readings, either virtually or
etry collection. ( SE E DE ADL I NES . ) EDITORS’ AWARDS in-person in New York City, as public
Elixir Press, Antivenom Poetry Award, Morgan English of Brattleboro, Ver- health guidelines allow. Kaveh Akbar
P.O. Box 27029, Denver, CO 80227. mont, won the 2021 Editors’ Award in judged. The annual award is given for a
poetry for “Your Bitter Girl.” Austyn poetry collection. ( S E E DE A D LI NE S.)
[email protected]
Wohlers of South Bend, Indiana, won
elixirpress.com Four Way Books, Levis Prize in Poetry,
the award in fiction for “The Archivist.”
Lee Anne Gallaway-Mitchell of Tucson P.O. Box 535, Village Station, New York,
Finishing Line Press
won the award in nonfiction for “Good NY 10014. (212) 334-5430.
NEW WOMEN’S VOICES CHAPBOOK
Lands of Mercy.” They each received [email protected]
COMPETITION $1,000, and their winning works will be fourwaybooks.com/site
K. E. Ogden of Studio City, California,
Recent Winners

published in Florida Review. The editors

won the 2021 New Women’s Voices judged. The annual awards are given for Gemini Magazine
Chapbook Competition for What the a poem or group of poems, a short story, SHORT STORY CONTEST
Body Already Knows. She received $1,500, and an essay. (SE E D EAD LI N ES. )
Kathleen Spivack of Watertown, Mas-
and her chapbook will be published by Florida Review, Editors’ Awards, sachusetts, won the 2021 Short Story
Finishing Line Press. Leah Huete de University of Central Florida, English
Contest for “Moths.” She received
Maines judged. The annual award is Department, P.O. Box 161346, Orlando,
given for a poetry chapbook written by a FL 32816. Jake Wolff, Editor. $1,000, and her story was published
poet who identifies as a woman and who fl[email protected] in the December 2021 issue of Gemini
has not yet published a full-length col- floridareview.cah.ucf.edu Magazine. The editors judged. The an-
lection. The next deadline is June 30. nual award is given for a short story.
Four Way Books ( SE E DEA D LIN E S.)
Finishing Line Press, New Women’s LEVIS PRIZE IN POETRY
Voices Chapbook Competition, P.O. Box Gemini Magazine, Short Story Contest,
Monica Rico of Ann Arbor, Michigan,
1626, Georgetown, KY 40324. Christen won the 2021 Levis Prize in Poetry for P.O. Box 1485, Onset, MA 02558.
Kincaid, Director. Pinion. She received $1,000 and publica- (339) 309-9757. David Bright, Editor.
fi[email protected] tion by Four Way Books. She will also [email protected]
finishinglinepress.com/awards be invited to participate in Four Way gemini-magazine.com

Commit to Your Future as

a Writer without
Disrupting Your Life
Low-Residency MFA in Creative Writing
Fiction · Creative Nonfiction · Poetry · Science Fiction/Fantasy
Start in summer, fall or spring and study with a tight-knit group of students and
accomplished faculty mentors. You’ll create and revise original work in your chosen genre
and complete a book-length manuscript. And the two-week Intensive summer
residencies full of workshops, seminars, and readings are a highlight of the program.
Graduate assistantships are available, where you gain college-level teaching
experience while earning $2,494* per course. You can teach up to five courses
during your two years in the MFA program. Graduate diversity scholarships are
also available.
For details, visit www.ashland.edu/poetswriters or email Christian Kiefer
at [email protected].
*Based on 2021 supplemental contract rates
TD18042758.8.21
American poet
Justin Phillip Reed,
2019 visiting writer

M A RCH A PR I L 2022 98
 GR A N T S & AWA R DS

Georgia Review and an invitation to present a writing

LORAINE WILLIAMS POETRY PRIZE project at a future Georgia Writers
Mathew Weitman of New York City won virtual program. Jessica Lindberg
the ninth annual Loraine Williams judged in poetry, Ann Hite and John
Poetry Prize for “The Death of a Tree.” Holman judged in fiction, and Wanda
He received $1,500, publication in the Lloyd judged in nonfiction. The annual
Winter 2021 issue of Georgia Review, awards are given in poetry and prose
and an all-expenses paid trip to Athens, to “elevate, encourage, and inspire the
Georgia, to give a public reading with voices of Black writers in Georgia.” The
the 2021 contest judge, Arthur Sze. The next deadline is October 1.
annual award is given for a single poem. Georgia Writers, John Lewis Writing
Grants, 440 Bartow Avenue, MD

Recent Winners
( S EE DE AD L IN ES.)
2701, Kennesaw, GA 30144. (470)
Georgia Review, Loraine Williams Poetry
578-4736. Terri Dudenhoeffer, Program
Prize, University of Georgia, 706A
Coordinator. [email protected]
Main Library, 320 South Jackson Street, georgiawriters.org/john-lewis-writing-award
Athens, GA 30602.
thegeorgiareview.com/the-loraine-williams Ghost Story
-poetry-prize SUPERNATURAL FICTION AWARD
Robin Riopelle of Ottawa, Canada, won N ATA S H A R A O
Georgia Writers the Fall 2021 Supernatural Fiction SIMON SHIEH
rao: geeta rao; shieh: jojo shieh

JOHN LEWIS WRITING GRANTS Award for “The Resurrectionist.” She Poetry Foundation
Jae Nichelle, Ra’Niqua Lee, and George received $1,500, and her story was Ruth Lilly and Dorothy Sargent Rosenberg
Chidi, all of Atlanta, received the published on the Ghost Story website Poetry Fellowships
inaugural John Lewis Writing Grants. and will also appear in volume 3 of the
Nichelle won in poetry, Lee won in anthology 21st Century Ghost Stories. ADRIANA PÁRAMO
fiction, and Chidi won in nonfiction. Lesley Bannatyne judged. The award is Red Hen Press
They each received $500, a scholarship Nonfiction Award
given twice yearly for a short story with
to attend the 2022 Red Clay Writ- a supernatural or magic realism theme.
ers Virtual Conference in November, (S E E D EA DL INES .)

99 POETS & WRITERS

 GR A N T S & AWA R DS

Ghost Story, Supernatural Fiction Award, deadline is March 15. Remembrance (Forge Books). Marcia
P.O. Box 601, Union, ME 04862. Paul SANDY RUN NOVELLA AWARD Chatelain of Washington, D.C., won the
Guernsey, Editor. Susan Fox of New York City won the 2021 Legacy Award in nonfiction for
theghoststory.com/tgs-fiction-award
2021 Sandy Run Novella Award for her historical book Franchise: The Golden
The Names of the Dead. She will re- Arches in Black America (Liveright).
Grayson Books Chanda Feldman, Donika Kelly, and
ceive $1,000, and her novella will be
POETRY AWARD Asiya Wadud judged in poetry; Clyde
published by Hidden River Press, an
Richard Cole of Austin, Texas, won the W. Ford, Kim McLarin, and Dinaw
imprint of Hidden River Publishing.
2021 Grayson Books Poetry Award for Mengestu judged in fiction; David
The editors judged. The biennial award
Song of the Middle Manager. He received Anthony Durham, Amina Gautier, and
$1,000, and his book will be published is given for a novella. The next deadline
Donna Hemans judged in debut fiction;
by Grayson Books. Rosemerry Wahtola is September 30, 2023.
and Brittney Cooper, C.J. Farley, and
Recent Winners

Trommer judged. The annual award is Hidden River Arts, P.O. Box 63927, Ron Stodghill judged in nonfiction. The
given for a poetry collection. The next Philadelphia, PA 19147. Debra Leigh annual awards are given for books of
deadline is August 15. Scott, Founding Executive Director. poetry, fiction, and nonfiction by Black
Grayson Books, Poetry Award, P.O. Box [email protected] writers published in the previous year.
270549, West Hartford, CT 06127. hiddenriverartssubmissions.submittable.com As of this writing, the next deadline has
graysonbooks.com/contest.html /submit not been set.
Hurston/Wright Foundation, Legacy
Hidden River Arts Hurston/Wright Foundation Awards, 10 G Street NE, Suite 600,
ELUDIA AWARD LEGACY AWARDS Washington, D.C. 20002.
Carol Roh Spaulding of Granger, Iowa, Rachel Eliza Griffiths of New York City (202) 248-5051.
won the 2021 Eludia Award for her won the 2021 Legacy Award in poetry [email protected]
novel, Helen Button. She will receive for her collection Seeing the Body (Nor- hurstonwright.org
$1,000, and her novel will be published ton). Percival Everett of South Pasa-
by Sowilo Press, an imprint of Hidden dena, California, won the 2021 Legacy Leapfrog Press
River Publishing. The editors judged. Award in fiction for his novel Telephone GLOBAL FICTION PRIZE
The annual award is given for a debut (Graywolf Press). Rita Woods of Homer K.L. Anderson of Seattle won the 2021
novel or story collection by a woman Glen, Illinois, won the 2021 Legacy Leapfrog Global Fiction Prize for her
writer over the age of 40. The next Award in debut fiction for her novel, novel, But First You Need a Plan. She

      

     !

  

 
     !   " #
   $ !%   &      
       
    " !#

M A RCH A PR I L 2022 100

 GR A N T S & AWA R DS

will receive $1,000, and her book will Mary Says.” They each received $1,000,
be published in September 2022 by and their works will be published in Los
Leapfrog Press in the United States Angeles Review. Francesca Bell judged
and by Can of Worms Enterprises in in poetry, Reema Rajbanshi judged in
the United Kingdom. Ann Hood and
fiction, Lara Ehrlich judged in flash
the Leapfrog Press editors judged. The
annual award is given for a short story fiction, and Beth Gilstrap judged in
collection, a novella, or a novel. nonfiction. The annual awards are given
( S EE DE AD L IN ES.) for works of poetry, short fiction, flash
Leapfrog Press, Global Fiction Prize, fiction, and creative nonfiction. The
P.O. Box 1293, Dunkirk, NY 14048. next deadline is June 30.
Rebecca Cuthbert, Managing Editor.

Recent Winners
Los Angeles Review, Literary Awards, P.O.
fi[email protected] Box 40820, Pasadena, CA 91114.
leapfrogpress.com/the-leapfrog-global-fiction
(626) 356-4760. Shelby Wallace,
-prize-contest
Production Editor.
Los Angeles Review [email protected]
LITERARY AWARDS losangelesreview.org
iyer: wan park; siegal: stuart acker holt

Nellie Le Beau of Oceania won the 2021

Los Angeles Review Poetry Award for Milkweed Editions SANGAMITHRA IYER
“out in it”; Marilyn Abildskov of Moraga, MAX RITVO POETRY PRIZE NINA SIEGAL
California, won the Short Fiction Whiting Foundation
Ryann Stevenson of Oakland won the
Award for “Catalog”; Leanne Dunic of Creative Nonfiction Grants
2021 Max Ritvo Poetry Prize for Human
the unceded and occupied traditional Resources. She received $10,000 and her
territories of the Musqueam, Squamish, TA M A K O TA K A M AT S U
book will be published by Milkweed Winning Writers
and Tsleil-Waututh people won the
Flash Fiction Award for “Eight Arms to Editions in June 2022. Henri Cole Tom Howard/John H. Reid Fiction Contest
Hold You”; and Lauren Foley of North judged. The annual award is given for
County Dublin, Ireland, won the Cre- a debut poetry collection. The next
ative Nonfiction Award for “Mammy deadline is May 31.

“An important history.”

azon
Am e l l e r — Library Journal
ts
Bes
“Only a poet can see this
clearly, be this honest, and
still hope this much.”
— Douglas A. Blackmon,
Winner of the Pulitzer Prize

“Johnson has
laid the healing tools
in our hands,
and left instructions.
This is how it starts.”
— Cornelius Eady,
Finalist for the Pulitzer Prize

*RRGUHDGV¶/LVWRI%HVW1RQ¿FWLRQ%RRNVRI+RUULI\LQJ(YHQWV

Available Wherever Books and Ebooks Are Sold

www.pegasusbooks.com
Distributed by Simon & Schuster
ISBN 978-1-64313-466-6

101 POETS & WRITERS

 GR A N T S & AWA R DS

Milkweed Editions, Max Ritvo Poetry Naugatuck River Review SINGLE POEM BROADSIDE POETRY
Prize, 1011 Washington Avenue South, NARRATIVE POETRY CONTEST CONTEST
Open Book Building, Suite 300, - - Hawai’i, won
No‘u Revilla of Waikıkı,
Kevin Neal of Cincinnati won the
Minneapolis, MN 55415. (612) 215-2540. 13th annual Narrative Poetry Contest the 2021 Single Poem Broadside Poetry
Bailey Hutchinson, Associate Editor. Prize for “iwi hilo means thigh bone
for “Let the Bones Guide You.” He
[email protected] means core of one’s being.” She received
received $1,000 and publication in the
milkweed.org/max-ritvo-poetry-prize $1,000, publication in OmniVerse, and
Winter/Spring 2022 issue of Naugatuck
50 author copies of her poem published
River Review. Destiny O. Birdsong
Munster Literature Center as a letterpress broadside by Omnidawn
judged. The annual award is given for Publishing. Thylias Moss judged. The
SEÁN O’FAOLÁIN INTERNATIONAL SHORT
a narrative poem. The next deadline is annual award is given for a single poem.
STORY COMPETITION
September 1.
Shelley Hastings of London won the ( SE E DEA D LIN E S.)
Recent Winners

2021 Seán O’Faoláin International Naugatuck River Review, Narrative FABULIST FICTION CHAPBOOK PRIZE
Short Story Competition for “Am I Poetry Contest, P.O. Box 368, Westfield, Clyde Derrick of Claremont, Califor-
Helping?” She received €2,000 (approxi- MA 01085. Lori Desrosiers, Publisher. nia, won the 2020 Fabulist Fiction
mately $2,259), a weeklong residency at [email protected] Chapbook Prize for The Ghost Trio. He
Anam Cara Writer’s and Artist’s Retreat, naugatuckriverreview.com received $1,000, and his chapbook will
publication of her story in Southword, be published by Omnidawn Publishing
and a featured reading at the virtual Omnidawn Publishing in fall 2022. He will also receive 100
2021 Cork International Short Story POETRY CHAPBOOK CONTEST author copies. Molly Gloss judged. The
Festival. Simon Van Booy judged. The Pattie McCarthy of Ardmore, Pennsyl- annual award is given for a novelette,
annual award is given for a short story. vania, won the 2021 Omnidawn Poetry short story, or collection of stories. As
The next deadline is July 31. Chapbook Contest for Extraordinary of this writing, the next deadline has not
Munster Literature Center, Seán Tides. She will receive $1,000, publica- been set.
O’Faoláin International Short Story tion of her chapbook by Omnidawn Omnidawn Publishing, 1632 Elm Avenue,
Competition, Frank O’Connor House, 84 Publishing, and 100 author copies. Rae Richmond, CA 94805. (510) 237-5472.
Douglas Street, Cork, T12 X802 Ireland. Armantrout judged. The annual award Ken Keegan and Rusty Morrison,
[email protected] is given for a poetry chapbook. The next Coeditors. [email protected]
munsterlit.ie deadline is June 13. omnidawn.com/contest

place your voice

mfa in creative writing
Tracks in creative nonfiction, fiction, poetry,
and writing for children & adolescents
• An emphasis on nature, environmental, and place-based
writing encourages students to explore the world as part
of their studies. Recent field seminars visited Costa Rica,
Turkey, Vietnam, Iceland, South Africa, and Indonesia.
• Focus your craft with opportunities to concentrate in
travel writing, food writing, nature writing, publishing,
social engagement, or teaching.
• Choose between a full-residency or low-residency
curriculum, with the ability to move between the options.
• Gain experience working on The Fourth River literary
journal, and teach creative writing in jails, prisons, and
rehab centers in the Words Without Walls program.
• Recognized as one of “Five Innovative/Unique Programs”
by The Atlantic Monthly and one of “Nine Distinctive
Programs” by Poets & Writers.
www.chatham.edu/mfa

M A RCH A PR I L 2022 102

 GR A N T S & AWA R DS

Orison Books in alternating years for a first poetry Editor. [email protected]

PRIZES IN POETRY AND FICTION collection or first book of fiction by a pshares.org
Stephanie Adams-Santos of Hillsboro, writer whose work has been published in
Oregon, won the 2021 Orison Poetry Ploughshares. The next deadline is June Poetry Foundation
Prize for her poetry collection Dream of 30. RUTH LILLY AND DOROTHY SARGENT
Xibalba. Kevin Honold of Santa Fe, New EMERGING WRITER’S CONTEST ROSENBERG POETRY FELLOWSHIPS
Mexico, won the 2021 Orison Fiction Margaret Wright of New York City won Five poets each received a $25,800 Ruth
Prize for his novel The Lady of Good the 2021 Emerging Writer’s Contest Lilly and Dorothy Sargent Rosenberg
Voyage. They each received $1,500, and in poetry for “Accidents.” Meghan Fellowship from the Poetry Foundation.
their books will be published by Orison E. O’Toole of Chicago won the 2021
Books in 2022. Jericho Brown judged They are Bryan Byrdlong of Los Angeles,
Emerging Writer’s Contest in fiction Steven Espada Dawson of Austin, Texas,

Recent Winners
in poetry and Debra Spark judged in
for “Good Food for Starving Things.” Noor Hindi of Detroit, Natasha Rao
fiction. The annual awards are given for
Madeline Vosch of Austin, Texas, won of New York City, and Simon Shieh
a poetry collection and a story collection
the 2021 Emerging Writer’s Contest of Washington, D.C. A committee of
or novel. (SE E DE ADL I NE S .)
in nonfiction for “Undead.” They each
Orison Books, Prizes in Poetry and Poetry magazine contributors and Poetry
received $2,000, publication of their
Fiction, P.O. Box 8385, Asheville, NC Foundation staff judged. The annual
work in the Winter 2021–2022 issue
28814. Luke Hankins, Editor. awards are given to poets between the
of Ploughshares, and a consultation
[email protected] with literary agency Aevitas Creative ages of 21 and 31 to support their con-
orisonbooks.com
Management. Paige Lewis judged in tinued study and writing of poetry.
poetry, Kiley Reid judged in fiction, and (SE E D EA DL IN ES .)
Ploughshares
Paul Lisicky judged in nonfiction. The Poetry Foundation, Ruth Lilly and
JOHN C. ZACHARIS FIRST BOOK AWARD
annual awards are given for a poem or Dorothy Sargent Rosenberg Poetry
Jamil Jan Kochai of West Sacramento,
California, won the 31st annual John group of poems, a short story, and an Fellowships, 61 West Superior Street,
C. Zacharis First Book Award for his essay. (SE E D EA DLI NE S .) Chicago, IL 60654.
novel, 99 Nights in Logar (Viking, 2019). Ploughshares, Emerson College, 120 [email protected]
He received $1,500. Ladette Randolph Boylston Street, Boston, MA 02116. poetryfoundation.org/foundation/prizes
judged. The annual award is given (617) 824-3757. Ellen Duffer, Managing -fellowship

103 POETS & WRITERS

 GR A N T S & AWA R DS

Press 53 [email protected] website, and an invitation to read for the

AWARD FOR POETRY redhen.org Bardic Trails series, a virtual gathering
Ann Pedone of Millbrae, California, won of the Talking Gourds Poetry Club.
the 2022 Press 53 Award for Poetry Sonora Review Donald Levering judged. The annual
for The Italian Professor’s Wife. She will ANNUAL CONTESTS award is given for a poem. The next
receive $1,000, publication by Press 53, Omer Friedlander of New York City deadline is August 30.
and 50 author copies. Tom Lombardo won the 2020 Fiction Prize for “Sche- Talking Gourds, Fischer Prize, P.O.
judged. The annual award is given for a herazade and Radio Station 97.2 FM.” Box 1770, 216 West Colorado Avenue,
poetry collection. The next deadline is Rebecca Makkai judged. Sofia Sears of Telluride, CO 81435. Art Goodtimes
July 31. Philadelphia won the 2020 Nonfiction and Rosemerry Wahtola Trommer,
Prize for “Anatomy of a Girl-Poet.” Rae Codirectors.
Press 53, Award for Poetry, 560 North Paris judged. They each received $1,000 tellurideinstitute.org/talking-gourds
Recent Winners

Trade Street, Suite 103, Winston-Salem, and publication in Sonora Review. The
NC 27101. (336) 770-5353. Kevin Morgan annual awards are given for a short story Trustees of the Robert Frost
Watson, Publisher. and an essay on a theme. Farm
press53.com/award-for-poetry (SE E D EA DL INE S.) FROST FARM PRIZE
Red Hen Press Sonora Review, Annual Contests, Nicholas Friedman of Syracuse, New
University of Arizona, English York, and Michael Lavers of Provo,
NONFICTION AWARD
Department, P.O. Box 210067, Modern Utah, both won the 11th Annual Frost
Adriana Páramo of Qatar won the 2021
Languages Building 445, Tucson, AZ Farm Prize. Friedman won for his poem
Nonfiction Award for Keeping Quiet:
85721. “Storylines” and Lavers won for his
Sixteen Essays on Silence. She received
sonorareview.com poem “The Counterweight.” They each
$1,000, and her book will be published
received a $1,000 prize, an invitation to
by Red Hen Press in 2023. Deborah Talking Gourds read at the Frost Farm, and a scholar-
Thompson judged. The award will not FISCHER PRIZE ship to attend the 2021 Frost Farm
be offered going forward. Ja’net Danielo of Long Beach, Califor- Poetry Conference at the Robert Frost
Red Hen Press, Nonfiction Award, P.O. nia, won the 24th annual Fischer Prize Farm in Derry, New Hampshire. Aaron
Box 40820, Pasadena, CA 91114. for “We Thank the Veteran for His Poochigian judged. The annual award
(626) 406-1203. Shelby Wallace, Service.” She received $1,000, publica- is given for a poem written in metrical
Production Editor. tion of her poem on the Talking Gourds verse. (S EE DE A DL IN E S. )

M A RCH A PR I L 2022 104

 GR A N T S & AWA R DS

Trustees of the Robert Frost Farm, Frost Lorelei Lee won 2021 Whiting Creative Winning Writers
Farm Prize, c/o Robert Crawford, 280 Nonfiction Grants. Each writer or team TOM HOWARD/JOHN H. REID FICTION
Candia Road, Chester, NH 03036. of writers received $40,000. The annual AND ESSAY CONTEST
frostfarmpoetry.org/prize awards are given to writers in the pro- Tamako Takamatsu of Tokyo and Megan
cess of completing a book of nonfiction. Falley of Longmont, Colorado, won
White Pine Press (S E E D EA DL INES .) the 29th annual Tom Howard/John H.
POETRY PRIZE Reid Fiction and Essay Contest. Taka-
Whiting Foundation, Creative Nonfiction
Richard Tillinghast of Papaikou, Hawai’i, matsu won in fiction for “The Pastures
Grants, 291 Broadway, Suite 1901, New
and Sewanee, Tennessee, won the 27th of My Eccentric Uncle” and Falley won
York, NY 10007. (718) 701-5962.
annual Poetry Prize for Blue If Only I in nonfiction for “The Act of Vanish-
[email protected]
Could Tell You. He received $1,000, and ing.” They each received $3,000, two-
whiting.org/writers/creative-nonfiction-grant
his book will be published by White year gift certificates for membership

Recent Winners
/about
Pine Press in fall 2022. Joe Wilkins to the literary database Duotrope, and
judged. The annual award is given for a publication on the Winning Writers
Willow Spring Books
poetry collection. The next deadline is website. Denne Michele Norris judged.
SPOKANE PRIZE FOR SHORT FICTION The annual awards are given for a short
November 30.
Elsa Nekola of Madison, Wisconsin, won story and an essay. ( SE E D EA DL I N ES.)
White Pine Press, Poetry Prize, P.O. Box the 2020 Spokane Prize for Sustainable
236, Buffalo, NY 14201. Winning Writers, Tom Howard/John
Living. She received $2,000, and her
whitepine.org H. Reid Fiction and Essay Contest,
book was published by Willow Spring
351 Pleasant Street Suite B PMB 222,
Whiting Foundation Books in December 2021. Valerie Mar-
Northampton, MA 01060. Adam Cohen,
tin judged. The annual award is given
CREATIVE NONFICTION GRANTS President.
Rebecca Clarren of Portland, Or-
for a short story collection. The next [email protected]
egon; Ashley D. Farmer of Austin, deadline is June 15. winningwriters.com/our-contests
Texas; Kevin González of San Juan and Willow Springs Books, Spokane Prize
Pittsburgh; Sangamithra Iyer of New for Short Fiction, c/o Inland Northwest
York City; Catherine Venable Moore of Center for Writers, 601 East Riverside
Ansted, West Virginia; Nina Siegal of Ave, CAT 400 Room 442, Spokane, WA Grants & Awards and Conferences
Amsterdam; Ali Winston and Darwin 99202. & Residencies are written by
BondGraham, both of Oakland, and willowspringsbooks.org INDIA LENA GONZÁLEZ.

105 POETS & WRITERS

 CONFERENCES & RESIDENCIES

POETS & WRITERS MAGAZINE ANNOUNCES application information for writers conferences, literary festivals, and residencies
of interest to poets, fiction writers, creative nonfiction writers, and translators. Applications for the following events are due shortly. Conferences
and festivals with rolling, first-come, first-served admission are listed well in advance. Some accept registration on the date of the event. Contact
the sponsoring organization for an application, complete guidelines, and updates on public health precautions. When requesting information by
mail, enclose a self-addressed, stamped envelope (SASE). All accessibility information has been provided by the sponsoring organizations.

Conferences
&
Residencies
American University of Paris arrange workshop scheduling in an ac- sibility needs when requests are sent by
Summer Creative Writing cessible classroom. March 9 and will make every effort to
Institute accommodate requests that arrive after
American University of Paris Summer
The American University of Paris Sum- that date.
Creative Writing Institute, 5 Boulevard de
mer Creative Writing Institute offers la Tour-Maubourg, 75007 Paris, France. Association of Writers & Writing
workshops to poets, fiction writers, and Andrea Christmas, Summer School Programs Conference and Bookfair,
creative nonfiction writers from June 28 Coordinator. [email protected] 5700 Rivertech Court, Suite 225,
to July 21 on the university’s campus in aup.edu/admissions/summer/courses/creative Riverdale Park, MD 20737.
the seventh arrondissement in Paris. The -writing (240) 696-8250.
faculty includes poet and fiction writer [email protected]
Siân Melangell Dafydd, poet and nonfic- Association of Writers & awpwriter.org
tion writer Biswamit Dwibedy, and nov- Writing Programs Conference
and Bookfair Atlanta Writers Conference
elist Amanda Dennis. The cost of tuition
The 2022 AWP Conference and Bookfair The 2022 Atlanta Writers Conference,
is €2,012 (approximately $2,270) for audi-
will be held from March 23 to March 26 sponsored by the Atlanta Writers Club,
tors; the cost of tuition for transferable will be held online and in person from
academic credit is €4,024 (approximately at the Pennsylvania Convention Center
in Philadelphia and will also include a May 6 to May 7 at the Westin Atlanta
$4,540). Lodging is available in residence Airport Hotel. The conference features
halls arranged through the university. virtual component comprising prere-
corded and livestreamed events. The presentations on the craft and business of
Using only the online submission writing, including a workshop on work-
system, submit a personal statement, conference features panel discussions,
ing with book publishing professionals
academic transcripts (or a copy of a ter- readings, discussion rooms, and a book-
to sell and publish your manuscript, as
tiary degree for auditors), and an online fair. Poet Toi Derricotte will give the
well as agent and editor pitch sessions,
application form with a €50 (approxi- keynote address. The cost of the confer-
manuscript sample critiques, and query
mately $56) application fee by June 1. To ence for in-person registration, which
letter critiques for fiction and nonfic-
apply for one of two travel stipends of up includes all virtual programming and
tion writers. Participating publishing
to €500 (approximately $564) submit via content, is $340 for nonmembers, $235 professionals include acquisitions editors
e-mail a creative writing sample of three for members, $100 for seniors, and $60 Jenny Chen (Ballantine Books), Molly
to five poems of any length or five to 10 for students. The cost of virtual-only Gregory (Gallery Books), Lisa Diane
pages of prose and a paragraph explain- registration is $215 for nonmembers, Kastner (Running Wild & RIZE Press),
ing how this course in Paris might help $150 for members, $100 for seniors, and David LeGere (Woodhall Press), Molly
you develop as a writer, in addition to $50 for students. For those attending the McGhee (Nightfire), Helen O’Hare
the completed summer application and in-person events, lodging is available at (Mulholland Books), Chantelle Aimée
application fee, by March 15. Visit the the conference hotel for discounted rates. Osman (Agora Books/Polis Books), and
website for more information. Registration is first come, first served. Christine Stroud (Autumn House Press),
Accessibility accommodations Visit the website for more information. and literary agents Natalie Edwards
include public transportation near Contact director of conferences (Trellis Literary Management), Zabé
the venue, elevators in all multilevel Colleen Cable at [email protected] Ellor (Jennifer De Chiara Literary
events spaces, and accessible door- for accessibility details or visit awpwriter Agency), Leticia Gomez (Savvy Literary
ways. Contact [email protected] .org/awp_conference/accessibility_ Services), Jeff Herman (Jeff Herman
for additional accessibility details or to overview. AWP can best meet acces- Agency), Sam Hiyate (Rights Factory),

107 POETS & W R ITERS

 CONFERENCES & RESIDENCIES

Kayla Lightner (Ayesha Pande Literary), Bogliasco Foundation Bogliasco Foundation, 1 East 53rd Street,
Dorian Maffei (Kimberley Cameron & The Bogliasco Foundation offers 8th Floor, New York, NY 10022.
Associates), Megan Manzano (D4EO monthlong residencies from January to (212) 486-0874. [email protected]
Literary Agency), Beth Marshea (Lad- May and from September to December bfny.org
derbird Literary Agency), and Jackie to poets, fiction writers, and creative
nonfiction writers in the coastal fishing Colrain Poetry Manuscript
Williams (Knight Agency). The cost of
village of Bogliasco, Italy, located seven Conference
a single event ranges from $50 to $170;
miles southeast of Genoa. Residents are The Colrain Poetry Manuscript Confer-
the cost of the full conference is $620. provided with a private room, workspace, ence will be held online from April 8
For nonmembers of the Atlanta Writers and meals, and are invited to attend to April 11. The conference features
Club, an additional $50 membership fee cultural events in Bogliasco and Genoa. evaluation and discussion of book-length
is also required. Lodging at the hotel is There is no cost to attend the residency, and chapbook-length poetry manu-
offered at a discounted rate of $132 per but residents are responsible for their scripts with poets, editors, and publish-
night until April 14. General registration own travel expenses. For residencies
ers. The faculty includes poets, editors,
is rolling through May 5; the deadline to from January 2023 to May 2023, using
only the online application system, sub- and publishers Joan Houlihan, Martha
submit a manuscript for critique is April Rhodes, Ellen Doré Watson, and Ross
mit three writing samples published in
4, and the deadline to submit a query let- White. The cost of the conference is
the past five years (up to 15 pages of po-
ter for critique is May 2. Visit the website $1,000. Using only the online application
etry or 25 pages of prose), a curriculum
for more information. vitae, a project proposal, and three letters system, submit three to four poems and
Contact conference director George of recommendation with a $30 applica- a brief bio. There is no application fee.
Weinstein at awconference@gmail tion fee by April 15, 2022. Though the Admissions are made on a rolling basis.
& Residencies

.com or (404) 632-3525 for accessibility foundation is not accepting applications Visit the website for an application and
Conferences

details. for the fall 2022 semester, applicants for complete guidelines.
spring 2023 have the option of indicat-
Atlanta Writers Conference, 8080 Colrain Poetry Manuscript Conference,
ing their availability for fall 2022 in their
Jett Ferry Road, Atlanta, GA 30350. application and will be considered for 242 Parker Street, Acton, MA 01720.
George Weinstein, Conference Director. any openings for that semester. Visit the (978) 897-0054. Joan Houlihan, Director.
[email protected] website for an application and complete [email protected]
atlantawritersconference.com guidelines. colrainpoetry.com

M A RCH A PR I L 2022 108

 CONFERENCES & RESIDENCIES

Community of Writers Annie Hwang (Ayesha Pande Literary), Massachusetts. The faculty includes
The Community of Writers will offer BJ Robbins (BJ Robbins Literary Agen- poets Erin Belieu, Elizabeth Bradfield,
workshops in poetry from June 18 to cy), Andrew Tonkovich (Santa Monica Traci Brimhall, Mahogany L. Browne,
June 25, and in fiction, nonfiction, Review), and Oscar Villalon (Zyzzyva). Gabrielle Calvocoressi, Tina Chang,
and memoir from July 18 to July 25 in Tuition, which includes some meals, is Martha Collins, Nick Flynn, Kimiko
Olympic Valley, near Lake Tahoe in the $1,350 for a poetry workshop and $1,450 Hahn, Terrance Hayes, Major Jackson,
Sierra Nevada mountains of California. for a prose workshop. Lodging is avail- Fred Marchant, Campbell McGrath,
The program features workshops, craft able in nearby condos and shared houses Eileen Myles, Porsha Olayiwola, and
talks, publishing panels, readings, and and ranges from $400 for a shared room Rowan Ricardo Phillips; poets and
one-on-one conferences with faculty. in a house to $1,650 for a private condo. fiction writers Idra Novey and Victo-
The faculty includes poets Camille Limited financial aid and scholarships for ria Redel; poets and nonfiction writers
Dungy, Robert Hass, Brenda Hillman, underrepresented writers are available. Alison Hawthorne Deming and Matthew
Ada Limón, Major Jackson, and Mat- Using only the online application system, Olzmann; fiction writer Justin Tor-
thew Zapruder; poets and fiction and submit four to five pages of poetry with res; fiction and nonfiction writers Pam
nonfiction writers Lisa Alvarez and a $35 application fee, or up to 5,000 Houston, Paul Lisicky, Sarah Schulman,
Tiphanie Yanique; fiction writers Leland words of prose with a $40 application Dani Shapiro, and Joan Wickersham;
Cheuk, Tyler Dilts, Louis Edwards, fee, by March 28. Visit the website for an
and nonfiction writers Mark Adams,
Alex Espinoza, Joshua Ferris, Janet application and complete guidelines.
Elissa Altman, and Susanna Sonnenberg.
Fitch, Susan Henderson, Rhoda Huffey, Community of Writers, P.O. Box 1416, Tuition ranges from $750 to $800. Hous-
Dana Johnson, Louis B. Jones, Sameer Nevada City, CA 95959. (530) 470-8440. ing is available at nearby guesthouses and
Pandya, Gregory Spatz, Lysley Teno- Brett Hall Jones, Executive Director.
rio, and Claire Vaye Watkins; fiction inns; limited campus housing is available
[email protected] on a first come, first served basis. Gen-
and nonfiction writers Tom Barbash,

& Residencies
communityofwriters.org

Conferences
Sands Hall, Jason Roberts, and Héc- eral registration is first come, first served.
tor Tobar; and nonfiction writer Debra Fine Arts Work Center Summer Visit the website for complete guidelines.
Gwartney. Special guests include fiction Workshop Program Accessibility accommodations include
writers Michelle Latiolais, Kris O’Shee, The Fine Arts Work Center’s annual elevators in all multilevel event spaces;
and Amy Tan. Participating agents and summer workshops in poetry, fiction, accessible parking spaces (to be requested
editors include Reagan Arthur (Knopf), and creative nonfiction will be held from in advance); and accessible pathways and
Michael Carlisle (Inkwell Management), June 19 to August 19 in Provincetown, doorways. Contact summer program

109 POETS & W R ITERS

 CONFERENCES & RESIDENCIES

manager Sara Siegel at [email protected] basis. Visit the website for more informa- writers include fiction writers Karen
for accessibility details. tion. Dukess, Annie Hartnett, Crystal King,
Fine Arts Work Center Summer Contact Kate Peterson at kpeterson4 Brendan Matthews, and A. E. Osworth.
Workshop Program, 24 Pearl Street, @ewu.edu or [email protected] for acces- Participating publishing professionals
Provincetown, MA 02657. sibility details. include agents Sonali Chanchani (Folio
(508) 487-9960. [email protected] Get Lit! Festival, Get Lit! Programs, Literary Management), Carrie Howland
601 E Riverside Avenue, Room 440, (Howland Literary), and Ayla Zuraw-
fawc.org
Spokane, WA 99202. Kate Peterson, Friedland (David Black Agency), and
Get Lit! Festival Director. editor Emi Ikkanda (Hachette). Tuition
The 24th annual Get Lit! Festival will inside.ewu.edu/getlit is $279. Manuscript Mart consultations
be held online and in person from April with agents and editors are available for
21 to April 24 at various venues in and GrubStreet Muse & the an additional $209, one-on-one Writers’
Marketplace Studio Sessions with authors for $209,
around Spokane, Washington. The
festival features readings, craft classes, The 2022 GrubStreet Muse & the and small group info sessions with
Marketplace conference will be held agents and editors for $100. The general
and panel discussions for poets, fiction
virtually with optional in-person events registration deadline is April 27. Visit the
writers, and creative nonfiction writ-
in and around GrubStreet’s Center for website for more information.
ers. Participating writers include poets
Creative Writing in Boston’s Seaport
Taneum Bambrick, Chen Chen, and GrubStreet Muse & the Marketplace,
district, as public health guidelines allow,
Rena Priest; poet, translator, and mem- P.O. Box 418, Arlington, MA 02476.
from April 27 to May 1. From May 4 to
oirist Rajiv Mohabir; poet, fiction writer, (617) 695-0075. Preety Sidhu, Muse
May 8, the conference will also conduct
and nonfiction writer Beth Piatote; and Conference Lead.
a Manuscript Mart, offering manuscript
fiction writers Lesley Nneka Arimah and [email protected]
consultations with agents and editors
& Residencies
Conferences

Brandon Hobson. Many events are free; museandthemarketplace.com

via phone. The April 27 to May 1 event
select events, including craft classes and features around 70 online craft classes, Hambidge Creative Residency
headline events, start at $10 and require discussions, workshops, and meetings Program
advance registration. Lodging is available with agents and editors, and add-on Hambidge offers residencies of two
at local hotels for discounted rates. All in-person parties, events, and other to four weeks to poets, fiction writ-
tickets will be available by March 1, and gatherings, for poets, fiction writers, ers, and creative nonfiction writers on
distributed on a first come, first served and nonfiction writers. Participating 600 wooded acres in the Blue Ridge

M A RCH A PR I L 2022 110

 CONFERENCES & RESIDENCIES

Mountains of northern Georgia. Resi- tours of Iceland. The faculty includes fic- Indiana University Writers’
dents are provided with a private cottage tion writers David Chariandy, Aminatta Conference
with a bedroom, studio space, kitchen, Forna, Patrick Gale, Kristín Helga Gun- The 2022 Indiana University Writers’
and bathroom. The cost of the residency narsdóttir, Elnathan John, Yrsa Sig- Conference will be held from June 2 to
is $250 per week, which includes some urðardóttir, Cynthia D’Aprix Sweeney;
meals. Scholarships are available. For June 5 in Bloomington, Indiana. Partici-
nonfiction writers Heather Harpham,
residencies from September through pating writers include poet Nicky Beer,
Dan Kois, and Gretchen Rubin; and
December, using only the online applica- fiction and nonfiction writer Will fiction writers Peter Kispert and Shruti
tion system submit six to eight poems Swamy, and nonfiction writers Melissa
Ferguson. The cost of the retreat is ISK
or up to 15 pages of prose, a 300-word Febos, Ashley C. Ford, and José Vadi.
230,000 (approximately $1,770). Lodging
biography, an applicant proposal, and The cost of the conference, including tu-
a résumé with a $30 application fee by and travel are not included. Attendees
are offered a special discounted rate at ition for a workshop, is $750. The cost of
April 15. Visit the website for complete
guidelines. the hotel. An optional two-day extension the conference without workshop tuition
Contact Mindy Chaffin at center@ is available for an additional ISK 32,000 is $375. General registration is first
hambidge.org or (706) 746-7324 for ac- (approximately $246). Registration is first come, first served. Lodging is available in
cessibility details. come, first served; the deadline is April campus dormitories for $49.90 per night,
15. Visit the website for more informa- and at the Graduate Bloomington Hotel,
Hambidge Creative Residency Program,
P.O. Box 339, Rabun Gap, GA 30568. tion. for $99 to $119 per night. To apply for a
(706) 746-7324. Mindy Chaffin, Office Accessibility accommodations include workshop, submit 8 to 10 pages of poetry
Manager. [email protected] elevator or ramp access to all retreat
or 15 to 20 pages of prose; admissions
hambidge.org spaces; accessible doorways, pathways,
are rolling. Visit the website for more

& Residencies
and sidewalks; accessible bathrooms with

Conferences
Iceland Writers Retreat information.
handrails; and accessible parking.
The 2022 Iceland Writers Retreat for
Iceland Writers Retreat, P.O. Box 76, 212 Indiana University Writers’ Conference,
fiction writers and creative nonfiction
Gardabaer, Iceland. Erica Jacobs Green Ballantine Hall 240, 1020 East Kirkwood
writers will be held from April 27 to
May 1 at the Edition Hotel in Reykjavík. and Eliza Reid, Cofounders. Avenue, Bloomington, IN 47405. Bob
The retreat features workshops, panels, [email protected] Bledsoe, Director. [email protected]
lectures, and time to write, as well as icelandwritersretreat.com iuwc.indiana.edu

UNIVERSITY OF NEBRASKA AT OMAHA

MFA IN WRITING

Master of Fine Arts in Writing at the TEN-DAY

Lied Lodge & Conference Center RESIDENCIES
IN NEBR ASK A CIT Y
Low-Residency Program with Individualized
APPLICATION
Mentoring in Fiction, Creative Nonfiction, DEADLINES
Poetry, Young Adult, Playwriting & Screenwriting Nov 1 & June1

Recent and Forthcoming Visiting

Writers Include:
Sandra Beasley, Jennifer Egan, Major Jackson,
David Lehman & Deesha Philyaw

Kevin Clouther | [email protected]

mfa.unomaha.edu

111 POETS & W R ITERS

 CONFERENCES & RESIDENCIES

Kachemak Bay Writers’ Contact Erin Coughlin Hollowell at Agency) and Annie Hwang (Ayesha
Conference [email protected] or (907) 235-7743 Pande Literary). Early-bird registration
The 2022 Kachemak Bay Writers’ with accessibility requests or for acces- is $1,599 for the full conference with
Conference will be held from May 14 to sibility details. housing and $799 for the full conference
May 17 in Homer, Alaska, with a view Kachemak Bay Writers’ Conference, without housing until February 1. The
Kenai Peninsula College, 533 East cost of the conference after February 1
of the snow-capped mountain ranges
Pioneer Avenue, Homer, AK 99603. is $1,999 with housing and $999 without
across Kachemak Bay. The conference
(907) 235-7743. Erin Coughlin Hollowell, housing. À la carte options are available.
features craft classes, as well as craft
Director. [email protected] Registration is first come, first served.
conversations, readings, and individual Visit the website for more information.
writersconf.kpc.alaska.edu
consultations for poets, fiction writers, Contact Seth Tucker at longleaf
and creative nonfiction writers. The Longleaf Writers Conference [email protected] for acces-
faculty includes poet Victoria Chang, The 2022 Longleaf Writers Confer- sibility details.
poet and nonfiction writer CMarie ence will be held from May 14 to May
Longleaf Writers Conference, 168
Fuhrman, fiction writers Christina Chiu 21 at the Seaside Academic Village in
Smolian Circle, Seaside, FL 32459. Seth
and T. Geronimo Johnson, and fiction Santa Rosa Beach, Florida. The confer-
Tucker, Executive Director.
and nonfiction writers Toni Jensen and ence features workshops, craft seminars,
[email protected]
Marie Mutsuki Mockett. Participating sunset receptions, bonfire readings, and
longleafwritersconference.com
publishing professionals include editor one-on-one consultations with agents
for poets, fiction writers, and creative Minnesota Northwoods Writers
Tynan Kogane (New Directions) and
nonfiction writers. The faculty includes Conference
literary agent Anjali Singh (Ayesha Pande
poets Nickole Brown, Jessica Jacobs, and The 2022 Minnesota Northwoods
Literary). Poet Jericho Brown will give
Seth Brady Tucker; poet and essayist Writers Conference will be held in
& Residencies
Conferences

the keynote address. The cost of tuition Aimee Nezhukumatathil; fiction writers Minnesota’s Northwoods at Bemidji
is $400 until April 30 and $450 from May Matt Bondurant, David James Pois- State University from June 20 to June
1 to May 14. Scholarships are available; sant, Maurice Carlos Ruffin, and Katy 26. The conference features workshops,
complete a scholarship application by Simpson Smith; and nonfiction writer craft talks, panels, an evening reading
February 28. Space is limited; registra- Dustin Parsons. Participating publish- series, and manuscript consultations
tion is first come, first served. Visit the ing professionals include agents Caroline for poets, fiction writers, and creative
website for more information. Eisenmann (Frances Goldin Literary nonfiction writers. The faculty includes

IN THE MARGINS
FROM ELENA FERRANTE
“A true treasure and an important guide for
Henry Thoreau writers looking for their own voices.”
Margaret Fuller —  
Nathaniel Hawthorne
“Ferrante offers insights about
her complex protagonists
and enticing glimpses
“Thoreau and his contemporaries, not as the into a writer’s life.”
cultural luminaries they became but as young —Kirkus Reviews
adults whose futures were shaped by their
passions and choices.” —Elise Blackwell,
author of Hunger and The Lower Quarter

“Four essays
illuminate the mind of
“A delightful novel…that channels both the Elena Ferrante in this
bold and hidden voices of history.”
—Caitlin Horrocks, dazzling collection...
author of The Vexations fans are in for a treat.”
“Beautifully rendered and wholly engrossing…” —  
 
—Thisbe Nissen,
author of How Other People Make Love
(Starred Review)

AVAILABLE
Available at Bookshop, IndieBound, Barnes & Noble,
Amazon, and wherever books are sold. EVERYWHERE
Europa BOOKS ARE SOLD

editions www.europaeditions.com

M A RCH A PR I L 2022 112

 CONFERENCES & RESIDENCIES

poets Kimberly Blaeser and Douglas MN 56601. (218) 755-2068. Mathew Accessibility accommodations include
Kearney, poet and essayist Aimee Ne- Hawthorne, Conference Coordinator. public transportation near the venue;
zhukumatathil, fiction writer Benjamin [email protected] accessible doorways and pathways, with
Percy, and creative nonfiction writer Joni northwoodswriters.org ramp access; accessible restrooms; ac-
Tevis. The 2022 Distinguished Visit- cessible parking; and signage in Braille.
ing Writer is poet and essayist Claudia Napa Valley Writers’ Contact Napa Valley College’s disability
Rankine. The cost of the conference, Conference coordinator at (707) 256-7234 for ad-
which includes a five-day workshop, is The 2022 Napa Valley Writers’ Confer- ditional accessibility details.
$795 through April 1 and $875 there- ence will be held from July 24 to July 29 Napa Valley Writers’ Conference, Napa
after. Half-hour manuscript consulta-
on the main campus of Napa Valley Col- Valley College, Office 1753, 2277 Napa
tions are available for an additional $75.
lege in Napa, California. The conference Vallejo Highway, Napa, CA 94558.
An auditor option, which includes all
features workshops in poetry, fiction, (707) 256-7417.
conference events except a workshop, is
and translation, as well as craft talks and [email protected]
available for $180. Workshops are limited
evening readings. The faculty includes napawritersconference.org
to 12 participants; registration is first
come, first served, beginning March 1. poets Jane Hirshfield and Major Jackson, National Black Writers
Housing on campus is available for $210 fiction writers Lan Samantha Chang and Conference
for six nights. Scholarships are available. ZZ Packer, and translator Forrest Gan- The 16th National Black Writers Con-
Using only the online application system, der. The cost of the conference is $1,100, ference, “The Beautiful Struggle: Black
submit 5 to 10 pages of poetry or 10 to which includes tuition, daily breakfast Writers Lighting the Way,” will be held
20 pages of prose by May 10. There is no virtually, as a series of webinars, from
and lunch, two dinners, and wine tast-
application fee. Visit the website for more March 30 to April 2. The 2022 NBWC
information. ings. Lodging is available at nearby
examines “the ways that texts by Black

& Residencies
hotels. Limited financial aid is available.

Conferences
Contact Bemidji State Univer- writers document struggle and persis-
sity’s Accessibility Services office at Submit five poems, 10 to 15 pages of
tence and light the ways for overcom-
[email protected] or (218) fiction, or a translation of up to three ing obstacles and surviving in a racially
766-2139 for accessibility details. poems or 1,500 words of prose; a brief constructed society.” The conference
Minnesota Northwoods Writers personal statement; and a $25 application features panel discussions, a keynote
Conference, Bemidji State University, fee by April 15. Visit the website for an conversation, presentations on confer-
1500 Birchmont Drive NE #4, Bemidji, application and complete guidelines. ence honorees, author readings, writing

Forest
GANDER

113 POETS & W R ITERS

 CONFERENCES & RESIDENCIES

workshops, film screenings, and more for writers, and creative nonfiction writers [email protected] or (800) 944-
poets, fiction writers, nonfiction writ- “seeking to deepen their relationship to 1001 for additional accessibility details.
ers, and literary scholars. Participating place through their written work.” The Orion Environmental Writers’ Workshop,
writers include fiction writers Edwidge faculty includes poets Elizabeth Bradfield 187 Main Street, Great Barrington, MA
Danticat and Maurice Carlos Ruffin and and Geffrey Davis; fiction and nonfic- 01230. [email protected]
fiction and nonfiction writers Tananarive tion writer Scott Russell Sanders; and orionmagazine.org/omega
Due and Kiese Laymon. The 2022 hon- nonfiction writers Michael Kleber-Diggs
orees are poet Tracy K. Smith, fiction and Katrina Vandenberg. Tuition is $995. A Rally of Writers
and nonfiction writer Jacqueline Wood- Lodging, meals, and all-inclusive use of The 34th annual A Rally of Writers
son, journalist Herb Boyd, and scholar site facilities costs between $475 for those conference will be held on April 9 at the
Eddie S. Glaude Jr. Registration is avail- camping to $1,500 for a single cabin with West Campus of Lansing Community
able for $50 to $80 and closes on April 2. a private bath. Using only the online ap- College in Lansing, Michigan. The
Visit the website for more information. plication system, submit up to six pages conference features workshops, panel
of poetry or up to 1,500 words of prose discussions, and readings in poetry,
National Black Writers Conference,
by May 15. There is no application fee. fiction, and creative nonfiction. Par-
Center for Black Literature, Medgar
Applications are accepted on a rolling ticipating writers include poets Laura
Evers College, City University of New
basis. Scholarships are available. Visit the Apol and Will Langford; fiction writers
York, 1650 Bedford Avenue, Brooklyn,
website for more information. Erin Bartels, Lev Raphael, and Michael
NY 11225. [email protected]
Accessibility accommodations include Zadoorian; and nonfiction writer Linda
centerforblackliterature.org
available taxi service; ground level event Peckham. Nonfiction writer Doug
Orion Environmental Writers’ spaces with accessibility ramps; acces- Stanton will give the keynote address.
Workshop sible doorways; golf-cart transporta- The cost of the conference is $90 ($50
Orion Magazine’s Environmental Writ- tion on campus; accessible bathroom for students) in advance, and $105 ($60
& Residencies
Conferences

ers’ Workshop will be held from June stalls within the venue and the housing for students) on-site. Visit the website for
19 to June 24 at the Omega Institute in accommodations; accessible entrances, more information.
Rhinebeck, New York. The program including to the dining hall; accessible Accessibility accommodations include
features workshops, faculty readings parking spaces; ASL interpretation and public transportation near the venue,
and lectures, panels on publishing, and assistive listening devices, with advance elevators in all multilevel event spaces,
one-on-one meetings with faculty mem- notice; and signage in Braille. Contact accessible doorways and pathways, ac-
bers and Orion editors for poets, fiction special needs coordinator Rose Hues at cessible restrooms, accessible parking,

M A RCH A PR I L 2022 114

 CONFERENCES & RESIDENCIES

and signage in Braille. Contact Lansing of readings for all events, and large-print editors include Abdul Ali (Pleiades), Anna
Community College events coordina- programs. Contact Emily Tuttle at Lena Phillips Bell (Ecotone and Lookout
tor Kelly Hekler at (517) 483-1521 for [email protected] for additional Books), Millicent Bennett (Houghton
additional accessibility details. accessibility details. Mifflin Harcourt), Cortney Lamar
A Rally of Writers, P.O. Box 4253, East Sarah Lawrence College Poetry Festival, Charleston (Rumpus), George David
Lansing, MI 48823. (517) 775-5784. 1 Mead Way, Bronxville, NY 10708. Clark (32 Poems), Leigh Anne Couch
arallyofwriters.wordpress.com [email protected] (freelance editor), Jessica Faust (Southern
sarahlawrence.edu/writing-mfa/poetry-festival Review), Rebecca Lindenberg (Cincinnati
Sarah Lawrence College Poetry Review), Becky Monds (HarperCollins),
.html
Festival Eric Smith (Sewanee Review), Liz Van
The 2022 Sarah Lawrence College Sewanee Writers’ Conference Hoose (5E), Adam Vines (Birmingham
Poetry Festival will be held from April The 32nd annual Sewanee Writers’ Poetry Review), Michael Wiegers (Copper
8 to April 10 on the campus of Sarah Conference will be held from July 19 to Canyon Press), Ginny Smith Younce
Lawrence College in Bronxville, New July 31 on the campus of the University (Penguin Press), and Felicia Zamora
York, located 30 minutes by train from of the South in Sewanee, Tennessee. The (Colorado Review). Participating agents in-
New York City. The festival features conference features workshops, master clude Jin Auh (Wylie Agency), Michelle
workshops, readings, panel discussions, classes, lectures, and readings for poets, Brower (Trellis Literary Management),
and craft talks. Participating poets fiction writers, and nonfiction writ- Sarah Burnes (Gernert Company),
include Rosebud Ben-Oni, sam sax, Paul ers. The faculty includes poets Jericho Emily Forland (Brandt & Hochman
Tran, and Jane Wong. All events are free Brown, Eduardo C. Corral, Tarfia Literary Agents), Erin Harris (Folio
and open to the public. Visit the website Faizullah, Carl Phillips, Caki Wilkinson, Literary Management), Gail Hochman
for more information. and Monica Youn; fiction writers Chris (Brandt & Hochman Literary Agents),
Accessibility accommodations include Bachelder, Venita Blackburn, Sarah Annie Hwang (Ayesha Pande Literary),

& Residencies
Conferences
shuttle service between campus and the Shun-lien Bynum, Adrianne Harun, Margaret Riley King (William Morris
Bronxville Metro-North train station, Vanessa Hua, Holly Goddard Jones, Endeavor), Anjali Singh (Ayesha Pande
accessible doorways and pathways, Katie Kitamura, Maurice Carlos Ruffin, Literary), and Renée Zuckerbrot (Massie
elevators in all multilevel event spaces, Luis Alberto Urrea and Jess Walter; and & McQuilkin Literary Agents). Tuition,
accessible restrooms, reserved wheelchair nonfiction writers Alexander Chee, Lacy including room and board, is $1,800.
seating and seating for others with dis- M. Johnson, Alex Marzano-Lesnevich, Fellowships and scholarships are avail-
abilities, accessible parking, typed copies and Elena Passarello. Participating able for published writers. Submit 10 to

NEW YORK STATE SUMMER

WRITERS INSTITUTE
Erin Entrada Kelly,
JUNE 26 – JULY 23, 2022 MFA Creative Writing
One, two and four-week sessions available graduate, is a
Newberry Medalist
Application and information:
and New York Times
www.skidmore.edu/summerwriters
.
ing
eth

Best Selling Author

som

e
in

iev
b el
s to
e ha
E v eryon

Faculty, Fiction:
Joyce Carol Oates, Claire Messud, Amy Hempel,
Mary Gaitskill, Rick Moody, Calvin Baker, others
Faculty, Poetry:
Henri Cole, Rosanna Warren, Vijay Seshadri,
Gregory Pardlo, Campbell McGrath, Peg Boyers Come Write & Publish
Faculty, Non-Fiction: MFA in Creative Writing
Phillip Lopate, Thomas Chatterton Williams MA in Publishing
Visiting Writers: Double Degree Creative Writing/Publishing
John McWhorter, Louise Glück, Jamaica Kincaid,
Russell Banks, Francine Prose, Robert Pinsky, others

rosemont.edu/mfa

115 POETS & W R ITERS

 CONFERENCES & RESIDENCIES

15 pages of poetry or 30 pages of fiction from May 2 to May 6 at Bishops Ranch Southampton Writers
or nonfiction by March 15. There is no Retreat Center in Healdsburg, Califor- Conference
application fee. Visit the website for more nia. The conference features generative The 47th annual Southampton Writers
information. Conference will be held from July 6 to
workshops in fiction and memoir, panels
Accessibility accommodations include July 10 at the Stony Brook Southampton
by authors and agents, master classes,
elevators in all multilevel event spaces campus in Southampton, located on the
and accessible parking. Contact direc- meditative dream writing, and student
Atlantic coast 90 miles east of New York
tor of student accessibility services Matt readings. The faculty includes fiction City. The conference features workshops
Brown at [email protected] for writer Ellen Sussman and fiction and in poetry, fiction, and creative nonfic-
additional accessibility details. nonfiction writer Elizabeth Stark. The tion, as well as readings, lectures, and an
Sewanee Writers’ Conference, University cost of the conference, which includes agent panel. The faculty includes poets
of the South, 735 University Avenue, all meals, lodging, and activities, ranges Billy Collins and Dawn Lundy Martin;
Sewanee, TN 37383. [email protected] fiction writers Azareen Van der Vliet
from $2,195 to $2,495. Registration is
sewaneewriters.org Oloomi and Frederic Tuten; and nonfic-
first come, first served. Visit the website tion writers Melissa Bank, Matthew
Sonoma County Writers Camp for more information. Klam, and Beth Nguyen. The cost to at-
The first 2022 Sonoma County Writers Accessibility accommodations include tend the full conference, including work-
Camp will be held virtually from March accessible sidewalks, pathways, and shops, is $1,500; the cost to attend the
9 to March 13. The conference features lecture series is $150. Lodging in campus
doorways, and accessible parking.
generative workshops in fiction and dormitories is available for approximately
memoir, panels by authors and agents, Contact Leda Wagner at reservations
$70 per night for a shared room or $85
master classes, meditative dream writ- @bishopsranch.org for additional accessi- per night for a private room. To apply,
ing, and student readings. The faculty bility details regarding both conferences.
& Residencies

submit up to 10 pages of poetry or 10 to

Conferences

includes fiction writer Ellen Sussman and Sonoma County Writers Camp, 1993 20 pages of prose by April 15. There is no
fiction and nonfiction writer Elizabeth application fee. COVID-19 vaccination
Burnside Road, Sebastopol, CA
Stark. The cost of the conference is $995. is required. Full and partial scholar-
Registration is first come, first served. 95472. Ellen Sussman, Cofounder and
ships are available; submit a statement of
Visit the website for more information. Codirector. purpose and a letter of recommendation.
The second 2022 Sonoma County offi[email protected] The scholarship application deadline
Writers Camp will be held in person sonomacountywriterscamp.com is March 15. The deadline to apply to

M A RCH A PR I L 2022 116

 CONFERENCES & RESIDENCIES

attend only the lecture series is May 15. conferences with faculty members, read- Tinker Mountain Writers’ Workshop
Visit the website for more information. ings, and opportunities to socialize. The Summer Residential Program, Hollins
Accessibility accommodations include faculty includes poet Rebecca Linden- University, 7916 Williamson Road,
accessible doorways and pathways, ac- berg, fiction writers Rachel Beanland, Roanoke, VA 24020. (540) 362-6225.
cessible restrooms, reserved accessible Fred G. Leebron, and Daniel Mueller, Christine Powell, Contact.
seating, accessible parking, assistive nonfiction writer James McKean, and [email protected]
listening devices for events, and Braille poet, novelist, and memoirist Jon Pineda. hollins.edu/tmww
signage for restrooms and workshop Participating publishing profession- Visual Arts Center of Richmond
rooms. Contact Christian McLean at als include agent Barbara Jones (Stuart
[email protected] for The Annual Artist Residency offers an
Krichevsky Literary Agency). The cost 11-month residency from September 1,
additional accessibility details. of tuition is $795. Housing is available 2022, to July 31, 2023, to a poet, fiction
Southampton Writers Conference, Stony on campus for $225 for the week or in writer, or nonfiction writer at the Visual
Brook Southampton, 239 Montauk nearby hotels beginning at $85 per night. Arts Center of Richmond in Richmond,
Highway, Southampton, NY 11968. A campus meal plan is available for $200. Virginia. Writers who have not yet pub-
(631) 632-5007. Christian McLean, Registration is first come, first served. lished a full-length book are eligible. The
Conference Codirector. Scholarships are available; submit a per- residency includes private studio space
[email protected] sonal statement and a writing sample of and a stipend of $5,000. Residents are
stonybrook.edu/writers up to five pages by March 7. There is no also offered the opportunity to teach at
Tinker Mountain Writers’ application fee. Visit the website for an the Visual Arts Center on a contract ba-
Workshop Summer Residential application and complete guidelines. sis, the opportunity to attend free classes,
Program Accessibility accommodations include use of all communal studio spaces, and
The 18th annual Tinker Mountain Writ- elevators in all multilevel event spaces; individual instruction. The residency

& Residencies
Conferences
ers’ Workshop will be held from June 12 accessible sidewalks, pathways, and does not include housing. Submit an
to June 16 on the campus of Hollins Uni- doorways; accessible bathroom doors and application, a curriculum vitae, personal
versity in Roanoke, Virginia. The con- grab bars; accessible residential rooms, statement, two references, and a writing
ference features manuscript workshops event rooms, and dining hall; accessible sample of 10 pages of poetry or up to 25
and generative classes in poetry, fiction, parking spaces; and ASL interpretation, pages of fiction or nonfiction by April
creative nonfiction, and multi-genre assistive listening devices, and text copies 4. There is no application fee. Visit the
work, as well as craft talks, individual of talks are available upon request. website for more information.

117 POETS & W R ITERS

ABC
PAT R O N S C I R C L E

Supporting literature at its source

Poets & Writers gratefully acknowledges this group of generous booklovers who have made
donations of $1,000 or more to support our programs and publications for writers.

Stuart Applebaum Laura Gross Richard and Monica

Caitlyn Bazemore Heidi S. Fiske Schoenberger
Amy Berkower Andrew Hughes Vijay Seshadri
Sallie Bingham Susan Isaacs Lorraine Shanley
Susan Bockus Willys Schneider Kals William Siegel
Pam Boll Angela Kelsey Lee Skolnick and
Dmitri Chitov Sue Monk Kidd JoAnn Secor
Miles Coon Larry Kirshbaum, Anne-Lise Spitzer
Arlene Figman Cronk Waxman Agency Kate Staples
and Randy Cronk Liana Foundation Donna Baier Stein
Celia Currin Helen and Frank Macioce Peter Straub
Susanna Dakin Katie and Jim Mahon Joanna and Nick
Brian DeFiore and Market Partners Vergoth
Merrilee Heifetz International Paul Vidich and
Kimberly Edwards Fred Misurella Linda Stein
Elliot and Ella Figman Jeanie Mitchell and Marie Vitale
James Fox Fred Cannon Fred Wistow
Steven Gillis Carol Moldaw Margaret Wurtele
Susan Ginsburg and Audrey Niffenegger Andrew Zimmerman
Jerry Webman Neil Ortenberg Anonymous (2)
Lynn Goldberg Michael Pietsch
Janet McCarthy Grimm Anne Pollack
Ronnie and Richard Richard Russo
Grosbard Elizabeth Sargent

Join us! To contribute to Poets & Writers, please visit pw.org/friends or call us at 212.226.3586 ext. 207.
Poets & Writers is a 501(c)(3) nonprofit corporation; contributions are tax-deductible.

We are thankful for every gift we receive. Due to space limitation, we list here only Patrons Circle
members who made gifts of $1,000 or more as of January 10, 2022.
 CONFERENCES & RESIDENCIES

Accessibility accommodations include fee. Applications are accepted on a roll- Moore; fiction and nonfiction writer
public transportation near the venue, ing basis. Visit the website for an applica- Elyssa East; and conference directors
elevator access to all residency spaces, tion and more information. and editors Shanna McNair and Scott
accessible doorways and pathways, acces- Accessibility accommodations include Wolven. The cost of the conference is
sible restrooms, and accessible parking. public transportation near the venue and $3,500. Lodging and meals are not in-
Contact director of education and pro- unmarked accessible parking. Contact cluded. Using only the online application
grams Jordan Brown at jordanbrown executive director Michelle Hannon at system, submit 5,000 words of prose or
@visarts.org for additional accessibility [email protected] or (479) 253- 10 pages of poetry and a brief bio with a
details. 7444 for accessibility details. $30 application fee by April 18. Visit the
website for more information.
Visual Arts Center of Richmond, Annual Writers’ Colony at Dairy Hollow, 515
Accessibility accommodations include
Artist Residency, 1812 West Main Street, Spring Street, Eureka Springs, AR 72632.
elevators in all multilevel event spaces,
Richmond, VA 23220. Emily N, Gallery (479) 253-7444.
accessible doorways and pathways, ac-
Coordinator. [email protected]. writerscolony.org
cessible restrooms, and accessible event
visarts.org/artist-residencies/visarts-artist
The Writer’s Hotel NYC Writers spaces.
-residency-program
Conference The Writer’s Hotel NYC Writers
Writers’ Colony at Dairy Hollow The 2022 Writer’s Hotel NYC Writ- Conference, P.O. Box 472, Brunswick,
The Writers’ Colony at Dairy Hollow ers Conference will be held from June ME 04011. Shanna McNair, Founder and
offers residencies of one week to three 8 to June 14 in New York City. The Director.
months year-round to poets, fiction conference features a full manuscript writershotel.com
writers, and creative nonfiction writers preconference reading with two sets
at a former bed-and-breakfast in Eureka of editorial comments, workshops and
Springs, Arkansas, in the heart of the lectures on craft and publishing, and PW.ORG

& Residencies
Conferences
Ozarks. Residents are provided with a attendee and faculty readings for poets, Search our Conferences & Residen-
private room, work space, and meals. fiction writers, and nonfiction writers. cies database, which features more
The cost of the residency is $85 per day. Faculty includes poets Nathalie Handal, than two hundred retreats, residencies,
An additional $25 flat-rate cleaning fee is Terrance Hayes, Deborah Landau, and conferences, and festivals and includes
charged. Submit a writing sample of up Ladan Osman; fiction writer Donald photographs, application fees, deadlines,
to 10 pages, a one-page project descrip- Antrim; nonfiction writer Margalit information about programming during
tion, and a résumé with a $35 application Fox; poet and nonfiction writer Honor the pandemic, and more.

119 POETS & W R ITERS

 C l a s s i f i e d s
Caveat emptor! Poets & Writers Magazine is unable to check all claims made by advertisers. Readers should beware
of publishers who charge, rather than pay, an author for publication; publishers who do not pay for publication,
even in copies; publishers who require a purchase before publication; and contests that charge high reading fees.
The magazine recommends that you see the publication and submission guidelnes before submitting a manuscript;
if you have questions regarding an advertiser’s commitment to publication, please contact the advertiser directly.

CALL FOR MANUSCRIPTS

Anthologies awesome. Learn more Albiso, who passed away editing is available for For details, visit www AJI MAGAZINE
at: atmospherepress in 2019. All entrants manuscripts that show .choeofpleirnpress is calling for poetry,
ALLPOETRY . COM – .com. receive Sally Albiso’s promise. Visit our .com/poetry-chapbook short fiction, literary
Join the largest poetry collection Moonless website at www.weird -contest. nonfiction, reviews,
community, over Grief. For more details, beardpress.com. photography, and
HOHM PRESS ,
500,000 poets strong. go to moonpathpress GREEN LINDEN
graphic art from
a publisher of spiritual CALL FOR MANUSCRIPTS
From beginners to .com or Submittable Press—named by emerging and estab-
literature, is accepting
experts, get friendly book-length poetry .com. Chapbooks Entropy Magazine as lished writers and
encouragement and one of the best small artists. Submissions
manuscripts for the
detailed critiques 2022 TWO SYLVIAS presses—invites you to open on May 1 and
first installation of its
TIGER BARK PRESS Press Chapbook Prize
when you’re ready. Beggar Poet Series. submit poetry chapbook November 1 and close
No fee contests, $50 March BIPOC Manu- is now open. Winner manuscripts during the once the upcoming
Hohm Press has previ-
cash prizes, active script Reading Period. receives $500, publica- open-reading period, issue is filled. Back
ously published poetry
discussion forums, As part of Tiger tion by Two Sylvias now through March issues are available at
and translations by Red
and join our annual Bark Press’s ongoing Press, 20 copies of the 20. One or more manu- www.ajimagazine.com;
Hawk, Vraje Abramian,
anthology. Totally free commitment to printing winning book, & a scripts will be selected e-mail queries can be
and others. For guide-
with optional monthly quality poetry by a Depression glass trophy for publication in late sent to ajimagazine@
lines, please see www
memberships. Website: diversity of voices, (circa 1930). Open to 2022; authors will gmail.com.
.hohmpress.com/
www.allpoetry.com/pw. collections/beggar the press will hold an all poets and all entries receive 25 copies and
-poet-series. open reading period considered for publica- publicity. For details see BASEBALL BARD .
throughout the month tion. Deadline: May 31. www.greenlindenpress Online literary maga-
TIRED OF READING .com/submit.
of March 2022 for Guidelines: twosylvias zine with annual festival
dull short stories while REPENTHOUSE
your sharp ones are full-length book manu- press.com/chapbook seeks poems up to
Publications publishes -prize.html.
rejected? Check out: scripts by American CALL FOR MANUSCRIPTS 32 lines on subject of
inspirational fiction
www.coolestamerican and nonfiction for the
poets who identify as Magazines baseball. All properly
stories.com. Our Black, as indigenous, submitted poems are
Christian, Jewish, and BLUE LIGHT PRESS
inaugural volume, or as people of color. ‘22 MARCH AND published. Poets new to
interfaith communi- chapbook contest.
Coolest American Stories There is no entry fee April Sequestrum themes Baseball Bard are invited
ties, from short tracts Publication and 10
2022, praised by Lori for submission. Selected copies of your book. are 1) “Desire” & 2) to submit on a free trial
to thousand-page
Ostlund and featuring poets will be offered “Optimism!” Fiction, basis. For guidelines,
treatises. We charge We like imagistic,
work by S.A. Cosby, is a standard publishing nonfiction, and poetry. see “Submit a Poem”
no up-front fees, and inventive, emotionally
available on Amazon Both themes close at baseballbard.com.
editing is available for contract, with books honest poems that push April 15! Payment +
and through your E-mail: baseballbard@
manuscripts that show scheduled for publica- the edge. Send 12–24 publication. Submit yahoo.com.
bookstore. And we’re promise. Visit our tion in late 2022 or page manuscript, SASE, via our online submis-
now reading for Coolest website at www.repent early 2023. Submit a $10 reading fee to Blue sion system. Deadline:
2023—and we pay! house.org for details. manuscript of 60–90 CÆSURA REQUESTS
Light Press, P.O. Box February 15. E-mail:
pages of original poetry 150300, San Rafael, CA [email protected]. submissions of poetry,
CALL FOR MANUSCRIPTS in English, during the 94915 by June 30. For Full guidelines: www fiction (sci-fi/non/flash),
SALLY ALBISO
and all visual art forms,
Books Poetry Book Award– month of March, at guidelines, bluelight .sequestrum.org.
submission window
$2,500 and publication https://stonecanoe [email protected].
.submittable.com. For March 1 to June 1.
ATMOSPHERE PRESS with Ingram distribu- Website: www ABANDONED MINE
questions, e-mail tiger We need content for
is currently seeking tion for the winning .bluelightpress.com. is a new poetry journal 2 unique volumes,
submissions of 60–80 page poetry [email protected]. (quarterly online, print and online. No
full-length book manuscript authored selected annual print),
CHOEOFPLEIRN fees. Call will post
manuscripts in all by a poet living in the now accepting submis-
WEIRD BEARD Press seeks submissions by February 28. Visit
genres—from poetry U.S. Pacific Northwest sions for our ***inau- www.pcsj.org/caesura
to fiction to memoir (Oregon, Washington, Press publishes the of poetry of 25–40 gural year***. We are
unusual, the offbeat, pages for the Jona- to read the Call and
and beyond—with no or Alaska). Entries seeking poems people
and the avant-garde in than Holden Poetry Guidelines, view online
reading fee. Atmo- via Submittable. Fee: will be inspired to
more than 20 popular Chapbook Contest, editions, and order
sphere Press is an $10. Deadline: May re-read and share with
print editions.
independent publisher 15. Judge: Alice Derry. categories of fiction which will be judged by family and friends.
dedicated to honesty, Winner announced in and nonfiction. Short poet Laura Read. The Please visit www
transparency, profes- July. This award honors pieces and poems are winner receives $250 .abandonedmine.org for CALL FOR
sionalism, kindness, the memory of Moon- welcome. We charge plus 10 copies of the examples and complete submissions to SPANK
and making your book Path Press poet Sally no up-front costs, and published chapbook. submission guidelines. the CARP. We’re

121 POETS & WRITERS

 C AL L F OR : MA G A ZIN ES

looking for flash fiction, & loss. Submissions in our literary journals. no more than 4 pages short stories, and art. innovative publishing
short stories, CNF, and accepted year round for Submission is free. For total. www Website: https://the platform affiliated
Classif ieds

poetry, including shape flash, short, nonfiction, details, visit www .connecticutriverreview halcyone.submittable with the international
poetry. If your work and poetry. .choeofpleirnpress.com. .submittable.com/ .com. Payment for publisher Short Edition,
is thought-provoking, submit. Check our featured writers. seeks short work
sophisticated, yet not website for complete Publication awards for (8,000 character max,
CAVE WALL IS CLERESTORY
pretentious or obscure, guidelines: www.ct winning contest entries. about 1,000 words)
reading poetry submis- Magazine publishes
we’re interested. For poetry.net/publications
sions postmarked essays, photo stories, New Her Words literary exploring the theme of
submission guidelines .html.
March–April. Recent poetry, and interviews magazine for women. “Recovery.” Submis-
and more information contributors include on being, becoming, sions accepted through
visit www.spankthecarp Dan Albergotti, and belonging. We’re EVENING STREET May 15. Selected work
.com. Laure-Anne Bosselaar, currently accepting Review seeks previ- HAWAII PACIFIC
will appear online
Nickole Brown, Kasey submissions for our ously unpublished Review seeks fiction,
and in MSU Short
CALL FOR Jueds, Joel Peckham, Spring issue on “Food” work. Submit 3–6 poetry, and nonfic-
Edition machines and
Submissions: Wood Cat Maggie Smith, and and Summer issue poems or 1–2 prose tion. Based at Hawaii
will be considered for
Review|Emerging Voices Molly Spencer. We on “Sanctuary.” For pieces. Payment is 1 Pacific University,
publication interna-
from the Wild. Website: read blind. Postal further details and contributor’s copy. HPR charges no fees
E-mail submissions are tionally. This call is in
www.woodcatreview submissions only. For instruction, visit: and reads submissions
guidelines, send SASE clerestorymag.com/ preferred as a single conjunction with the
.com. New journal August through April.
to Cave Wall Press LLC, submissions. .docx or .rtf file. Broad Art Museum’s
looking for writers Our work has been
P.O. Box 29546, Greens- E-mail: editor@ 2022 lead exhibition,
and poets whose lives featured in the Best of
boro, NC 27429-9546. eveningstreetpress Recovery, featuring
and work thrive in the CONNECTICUT the Net and the Pushcart
Or visit: www.cavewall .com or Evening Street work from Detroit-
mountains, forests, River Review, a national Prize anthology. Details
press.com. Press, 2881 Wright St., based artist Beverly
and along the open poetry journal, is and links to our
Sacramento, CA 95821. Fishman. Recovery, for
road. From Cascadia to accepting submissions submission manager can
Website: www.evening our purposes, will be
Acadia, Voyageurs to CHOEOFPLEIRN from February 1 to be found at: hawaii
streetpress.com. broadly interpreted and
Big Bend, and all the Press seeks submis- April 15. Electronic pacificreview.org.
life in between, yours sions of poetry, fiction, submissions only. Send might include medita-
are the voices that speak nonfiction (creative and up to 3 original unpub- THE HALCYONE tions on physical, social,
to travel & adventure, scholarly), drama (one- lished poems in a single Literary Quarterly MICHIGAN STATE racial, environmental,
triumph & disaster, act and screenplays), document, no more wants your best University Libraries or other themes. We
challenge & hope, love and art for publication than 1 poem per page, unpublished poetry, Short Edition, an seek work that avoids

MARCH APRIL 2022 122

platitudes and senti- Magazine seeks submis- world. We’re open to RATTLE SEEKS which is well-crafted, being part of Sangam’s
mentality, demonstrates sions of well-groomed diverse forms and styles submissions of poems uses language lovingly emerging position in

Classif ieds
a deep understanding of poetry, fiction, nonfic- and are always seeking in translation for the and surprisingly, and today’s literary tradi-
craft, and engages with tion, and visual art. For unique chapbooks, Fall 2022 issue; poems feels daring or quietly tion.
fresh thinking. www.lib submission guidelines, poetry, fiction, nonfic- may be any style or powerful. For 40+
years, RHINO’s award-
.msu.edu/shortedition/ visit us at www.the tion, artwork, photog- subject, but must be SEEMS , A PRINT
submissions. ravensperch.com. translated into English winning annual print
raphy, and graphic publication since 1971,
from another language. journal has featured considers unpublished
narratives. Submissions
Deadline: April 15. stunning, eclectic poems, literary fiction,
MONTHS TO YEARS OYSTER RIVER
open year-round.
Online submissions work—“powerful and creative nonfic-
seeks submissions of Pages seeks fiction, palookamag.com. poetry from beginning
accepted. For more tion (5K words max of
creative nonfiction (up creative nonfiction, to end” (New Pages, prose) to seems@
information, visit our
to 2,500 words), poetry, poetry, and visual arts PENSIVE : A GLOBAL 2018). Get complete lakeland.edu or, with
website: www.rattle
photography, and art that stretch creative and Journal of Spirituality submission guide- SASE, to Jodie Mortag,
.com.
related to death and social boundaries, espe- lines—and purchase our Editor; Lakeland Univer-
& the Arts, innova-
dying as well as the cially from decentered gorgeous 2022 issue— sity; W3718 South Dr.,
tive online publication
broader themes of loss or marginalized voices. RHINO 2023 at rhinopoetry.org. Plymouth, WI 53073.
from Northeastern
and grief. Submission We believe in the opens for no-fee Samples and submission
University, seeks your
guidelines: www power of art to connect general submissions SANGAM LITERARY
guidelines at www
unpublished poetry,
.monthstoyears.org/ people to their own March 1–June 30 (until .seemsmagazine.wixsite
prose, visual art, Magazine Spring/
submission-guidelines. and others’ humanity. monthly submission .com/seems.
translations. Read past Summer 2022 opens
We welcome submis- Submissions accepted caps are reached.) All this January. Home
issues, including BLM- submissions consid-
sions from writers through May 31. See to Louisiana’s Poet SOLSTICE :
themed, at www ered for $500 Editor’s
in underrepresented www.oysterriverpages Laureate and Southern A Magazine of Diverse
.pensivejournal.com and Prize. Our diverse
communities. .com for details. University’s Languages Voices seeks submis-
submit via Submittable group of editors would and Literature Depart- sions to our interna-
February 1–May 15 or love to read your best ment, Sangam welcomes tional award-winning
NOMINEE : TOP 15 PALOOKA FEATURES August 1–November unpublished poems, your best work for journal. Poetry-in-
Literary Magazines new, up-and-coming, 15. No fee. Historically translations, and flash our next issue. See translation and graphic
& Publications to and established writers, underrepresented and fiction/nonfiction. We www.subr.edu/page/ lit submissions are
Follow in 2021. The artists, and photogra- international voices welcome all styles of submissions. We are especially encouraged.
RavensPerch Literary phers from around the especially welcome. writing, particularly that looking forward to you We’re also seeking

123 POETS & WRITERS

 C AL L F OR : MA G A ZIN ES

fiction, poetry, and prose, $135 for longer Antioch University Los creative nonfiction, Castillo, an award- www.janfreeman.net/
nonfiction. As always, pieces. Work from TLR Angeles’ BA program fiction, and interviews winning Chicano workshops-readings;
BIPOC and LGBTQ+ has appeared in major in creative writing and writer. Faculty include E-mail: janfreeman
Classif ieds

and pays for published

communities are anthologies, and every- is setting the bar for stories. Send us Frank X. Walker, [email protected].
warmly welcomed. thing we accept comes contemporary literature Jeremy Paden, Juan
narrative nonfiction,
solsticelitmag.org. from the open submis- with bold and illumi- Morales, E.J. Levy,
sion queue. We’re personal essays, short THE 17 TH ANNUAL
nating poetry, fiction, Stephanie Han, Levi
reading poetry, fiction, stories, short shorts, Northern Colorado
CNF, art, and quality Romero, and many
STONE CANOE , and nonfiction January as well as travel, food Writers Confer-
experimental work. others with workshops
the award-winning 15 through March 31. and wine, and writing ence newly branded
Submissions accepted in every genre. www
annual journal of art, Guidelines: tahoma November 1, 2021 with a strong narrative .somostaos.org/taos Writing Heights
writing, and ideas, will literaryreview.com. through July 31, 2022. element. Submissions: -writers-conference. Writers Conference
begin reading submis- For guidelines, see Kathleen Glassburn at FMI: (575) 758-00816 or (#WHWC2021) will
sions for its 2022 issue
TINT JOURNAL , www.twohawks kathleenglassburn@ e-mail somos@ be held April 28–30.
on April 1. The journal quarterly.com.
the literary magazine gmail.com. For somostaos.org. We’re offering 30+
is open to work by
for non-native English more, contact live sessions on craft,
poets, writers of fiction
creative writing, THE WOVEN TALE nick@thewriters marketing, and writing
and nonfiction, and 7 TH MASS MOCA
publishes fiction, life for writers of
artists; the only require- Press magazine, both workshop.net.
nonfiction, and poetry Writing Through Art
ment is that contribu- online and print, Websites: www fiction, nonfiction,
by writers who compose Poetry Retreat: June
tors must be either features the finest .thewritersworkshop poetry, and screen-
their work in English 8–14 in the Berkshires.
literature and art from
current or former resi- as their second or .net or www.thewriters A generative, immersive writing at our first fully
dents of upstate New around the world. workshopreview.net. hybrid conference. The
foreign language. See experience. Explore
York. For complete Submit (free!) poetry, event will also feature
our homepage for our exciting ways that art
submission guidelines, flash fiction, memoir,
current open call and opens the imagination, live panels, networking
visit www.ycny.org/ our guidelines, and short stories, novel Conferences allowing you to access events, and social gath-
stone-canoe or e-mail submit via www.tint excerpts. Go to our
“submit” page at www memories, observations, erings. Keynote: Leah
stonecanoe@ymcacny journal.com/submit (no 6 TH ANNUAL TAOS and emotions while Johnson, author of
.org. fee). #showyourtint. .thewoventalepress.net. Writers Conference in You Should See Me In a
experimenting with
beautiful Taos, New new forms of creative Crown. For more infor-
TAHOMA LITERARY TWO HAWKS THE WRITER ’ S Mexico, July 29–31, expression. New mation, visit www
Review pays writers! Quarterly is a digital Workshop Review in-person and online. and seasoned poets .northerncoloradowriters
$55 for poetry & flash journal affiliated with publishes the best in Keynote speaker: Ana welcome. Website: .com/conference.
O N I C A Review

fall 2021
available now

Featuring
Leslie Daniels
Caroline Kim
Tom Whalen
Daniel Libman
Jeff Solomon
Emily Greenberg
Amy Stuber
Kion You
M

Mary Taugher
Jim Marino
Emily Mirengoff
A N T A

Andrew Rothschild
Diane Lefer
Lisa Teasley
Adolfo Guzman-Lopez Cover: “Beautiful,” Dylan Landis

$7 copy / $12 yr. subscription

S

Santa Monica Review / Santa Monica College

1900 Pico Boulevard / Santa Monica, CA 90405
smc.edu/sm_review

MARCH APRIL 2022 124

COME WRITE BY time, insightful feed- Get Lit! features over Contests Immigration Research. 19 TH ANNUAL
the beach! Join us in back, homemade meals, 50 authors, including Submissions in fiction Gival Press Short

Classif ieds
beautiful Pawleys Island and time to relax. Learn Brandon Hobson, $4,000 IN AWARDS . and creative nonfiction. Story Award for best
for the 2022 South more and register Lesley Nneka Arimah, Enter New Millennium Two finalists receive previously unpublished
Carolina Writers Asso- today: www.stockton and Chen Chen for Writing Awards by June $1,000 each. Previous literary story in English
ciation Conference, .edu/murphywriting. readings, discussions, 30–Best Poetry: $1,000; winners include Patricia (stand-alone, not from
October 21–October workshops, and more. Fiction: $1,000; Nonfic- Engel, Lysley Tenorio, a novel), approximately
23. Registration: $235– We offer discounted Melissa Rivero, and 5,000 to 15,000 words.
JOIN THE tion: $1,000; Flash
$310. Fiction, poetry, hotel stays and many Hernán Díaz. View the Prize: $1,000, publi-
International Women’s Fiction: $1,000. All
nonfiction faculty such events will also be guidelines: www cation on website.
as Ashley M. Jones, Writing Guild at winners are published
our Annual Summer virtual. Learn more at in our anthology and .fallforthebook.org/ Reading fee: $25 per
Leigh Stein & more www.getlitfestival.org. submitnav. story submitted. Dead-
with agents, editors, Conference, Recon- online. “I love that a
nect & Reimagine, line: August 8. Details,
publishers. Includes journal with your repu-
July 22–28 at Endicott visit: www.givalpress
craft & publishing THE TENNESSEE tation is open to new 15 TH GIVAL PRESS
College, Beverly, MA. .submittable.com
workshops. For writers Williams & New voices. Writing can be Novel Award for best
Choose from 2 dozen or givalpress.com.
interested in traditional, Orleans Literary a lonely business, and original previously
workshops across all Address: Gival Press,
small press & self- Festival will hold its it’s nice to know we are unpublished literary
genres, critique, and P.O. Box 3812, Arlington,
publishing paths. Find 36th annual event for supported from afar.” novel in English,
open readings. To VA 22203.
out more at www readers, writers, and –Caroline Mansour, approximately 30,000 to
.myscwa.org. register, visit: www theater lovers in the 100,000 words. Prize:
recent submitter. Visit
.iwwg.org where you French Quarter with $3,000, copies; book 21 ST ANNUAL
www.newmillennium
can also check out our literary discussions, Gival Press Oscar
GET AWAY TO writings.org. publication in 2023.
online workshops and writing workshops,
Write—Florida. March Reading fee: $50 per Wilde Award for best
virtual writing circles.
8-13, 2022. Escape the theater, music, author novel submitted. Dead- previously unpublished
Questions? Call (646) $5,000 NEW
cold to write in Florida. interviews, cocktail line: May 30. Details, poem in English that
248-8676 or e-mail American Voices
Spend an inspiring events, walking tours, visit: www.givalpress best relates GLBTQ
[email protected]. Award: a post-publi-
week working on your and more! March .submittable.com life. Prize: $500, publi-
memoir with Peter 23–27. Visit www cation book prize for or givalpress.com. cation on website.
E. Murphy or poetry JOIN US IN .tennesseewilliams immigrant writers, Address: Gival Press, Reading fee: $20 per
with Emari DiGiorgio. Spokane April 21–24 .net for more info| from Fall for the Book P.O. Box 3812, Arlington, 3 poems submitted,
Enjoy plentiful writing for the Get Lit! Festival. @twfestnola. and the Institute for VA 22203. any form, style, length.

D E S E R T W R I T I N G P R I Z E

OPEN FOR SUBMISSIONS JANUARY-MAY 1, 2022

The Prize winner will receive a $3,000 cash award,
a residency at PLAYA at Summer Lake, Oregon and
a reading and reception at the Museum!

highdesertmuseum.org/waterston-prize

125 POETS & WRITERS

 C ONT ES TS

Deadline: June 27. Suzanne Lummis, and Deadline: April 1. For Chemistry and Joan Is THE 2022 RIVER information, visit www
Details, visit: Lue Lipsitz. Judges complete guidelines: Okay, will judge. Dead- Heron Poetry Prize .saturdayeveningpost
Classif ieds

www.givalpress have included Yusef www.artsand line: June 15. Minimum offers $500 and publi- .com/fiction-contest.
.submittable.com or Komunyakaa, Melissa sciences.utulsa.edu/ length: 100 pages (no cation to one winner.
givalpress.com. Kwasny, Christopher nimrod. maximum). Reading fee: Four finalists are also THE ANNUAL
Address: Gival Press, Buckley, Dara Wier, $25. Online submis- published in RHR’s Maria W. Faust Sonnet
P.O. Box 3812, Arlington, Dorianne Laux, and sions only, please. contest issue. Winners Contest welcomes
2022 AGHA are featured at an
VA 22203. Robert Wrigley. Dead- Complete guidelines: entries from around the
line: June 15. Shahid Ali Poetry online poetry reading.
www.newamericanpress world. Prizes total up to
Manuscript Prize. .com/2022-new Final judge: Deshawn $3,500. Categories: Top
24 TH ANNUAL $1,000 award, publica- -american-fiction-prize. McKinney. Entry fee: Four, Regional, Youth,
THE 44 TH NIMROD tion with the University $15. Entry period:
Blue Lynx Prize, and Laureates’ Choice.
Literary Awards: The of Utah Press and a March 1–May 31.
$2,000 plus publica- $5 entry fee for 3
Pablo Neruda Prize for reading with the Guest 2022 PRIME Complete guidelines: sonnets. Free for youth
tion, is awarded for an
Poetry and the Kath- Writers Series. Dead- Number Magazine www.bit.ly/rhpp2022. and undergraduate
unpublished, full-length
erine Anne Porter Prize line: April 15. Judge: Awards for Poetry and students. Entry period:
volume of poems.
for Fiction. First prizes Monica Youn. Reading Short Fiction. $1,000 January 1–June 1.
Submit manuscripts and 2023 SATURDAY
of $2,000 and publica- fee: $25. Open to new first prize in each Website: sonnetcontest
$28 reading fee to Evening Post Great
tion, and second prizes and established poets. category plus publica- .org. E-mail: entries@
lynxhousepress American Fiction
of $1,000 and publi- Online submissions tion in Prime Number sonnetcontest.org.
.submittable.com, or Contest. Winner
cation. Finalists and available. Guidelines are Magazine. Reading fee: receives $1,000 and
P.O. Box 96, Spokane, selected semi-finalists $15. Poetry judged by
available at www publication in January/ THE ANNUAL
WA 99210. The last will be published and Faith Shearin. Short
.uofupress.com/ali February 2023 issue of Rattle Poetry Prize
year’s winner was paid $10/page. For fiction judged by Jubal
-poetry-prize.php. the Post; 5 runners-up offers $15,000 for
Heather Sellers for her poetry, submit 3–10 Tiner. Open January receive $200 and publi- a single poem, plus
manuscript, The Present pages; for fiction, one 1 to March 31. Submit cation online. Entries a $5,000 Readers’
State of the Garden. short story, 7,500 words 2022 NEW online through Submit- should represent the Choice Award. Entry
Former winners include maximum. Each entry American Fiction Prize. table. Details at www highest quality fiction, fee of $25 includes a
Kirsten Kaschock, requires a $20 entry fee, $1,500 award and book .press53.com/prime regardless of genre. 1-year subscription to
Jim Daniels, Carolyne which includes a 1-year publication. Weike -number-magazine Deadline: July 1. For the magazine. Dead-
Wright, Joe Wilkins, subscription to Nimrod. Wang, author of -awards. guidelines and more line: July 15. Submit

MARCH APRIL 2022 126

up to 4 unpublished Deadline: May 1. $15 open! Now in its 12th March 1–July 1. Entry fiction, drama (10 15 postmark. Check
poems per entry. For for 5 poems, multiple year, the prize is for a fee: $20. www.blreview minute plays), nonfic- CR website or send

Classif ieds
guidelines and to read separate submissions book-length collection, .org. tion. No entry fee. SASE for complete
past winners, visit our allowed. Final judge $1,000, and book publi- Deadline: June 15. For rules. Limit: 40 lines of
website: www.rattle announced at end of cation with Spring 2023 BELLINGHAM
details: http://bit.ly/ poetry. Mail entry fee:
.com/prize. competition. Online titles. Judge: Rebecca Review’s annual 2GhaRB9. $5 per poem. Submit-
submissions only: Kaiser Gibson. Entry contests for fiction, table: 1–5 poems, $25
www.atlantareview fee: $30. Submission poetry, and nonfiction plus online fee. www
APPLICATIONS ARE CIDER PRESS
.submittable.com. deadline: June 30. For are open December 1 .comstockreview.org.
now open for the 2022 Review Editors’ Prize
Courage to Write submission guidelines: to March 15. $1,000 for a book-length Address: CR Muriel Craft
Grants. Unrestricted BARRY SPACKS
www.bauhanpublishing first-place prizes. $20 poetry collection in Bailey Award, 4956 St.
grants of $7,000 each to Poetry Prize. .com/may-sarton entry fee. General English. Prize: $1,000 John Dr., Syracuse, NY
encourage and support Gunpowder Press is -prize or go to www submissions are open and publication. All 13215. Website:
emerging writers. accepting book-length .bauhanpublishing September 15 to entrants will receive the www.facebook.com/
Applications close manuscripts of 48–100 .submittable.com/ December 1. Bellingham winning book. Reading comstock-review
May 29. The Courage pages for the eighth submit. Review is dedicated period: April 1–June -186488898068352.
to offering continual 30. Reading fee: $26.
to Write Grants are annual Barry Spacks
support to our authors. Judges: CPR editors.
awarded by the de Poetry Prize, which BELLEVUE LITERARY CONNECTICUT
Submit 48- to 80-page
Groot Foundation. For honors Barry’s legacy See complete submis-
Review’s annual prizes manuscript: www Poetry Award of the
more information and of accessible yet chal- sion guidelines at
recognize exceptional .ciderpressreview.com/ Connecticut Poetry
to apply: www.degroot lenging work. The prize bhreview.org.
writing about health, submit. Guidelines: Society (CPS). Fee:
foundation.org. is $500 + 50 author healing, illness, the www.ciderpressreview $15 for up to 3 unpub-
copies. Entry fee is $20. .com/bookaward.
body, and the mind. CHRISTOPHER lished poems; any form,
Danusha Laméris will
ATLANTA REVIEW $1,000 Fiction Prize Hewitt Award, 80-line limit. Submit via
judge. Full details at
26th Annual Interna- (judge: Toni Jensen), presented by A&U COMSTOCK
connecticutriverreview
gunpowderpress.com.
tional Poetry Prize: $1,000 Nonfiction Magazine, showcases Review’s prestigious .submittable.com.
Grand Prize $1,000. Prize (judge: Rana outstanding responses single poem contest Opens April 1, dead-
Top 25 contestants BAUHAN Awdish), $1,000 Poetry to HIV/AIDS. $75 and features $1,320 in line: May 31. Prizes:
published. Thirty merit Publishing’s May Prize (judge: Phillip B. publication for winners prizes. Judge: Ellen 1st–$400; 2nd–$100;
winners, listed on honor Sarton New Hamp- Williams). We welcome in each of the following Bass. Submit from 3rd–$50. Winning
roll, receive a free copy. shire Poetry Prize is submissions from categories: Poetry, April 1 to deadline July poems published in

127 POETS & WRITERS

 C ONT ES TS

Connecticut River Review in Crab Creek Review. publication (winner); Contests open March 1. ENTRIES BEING Scotti of California is
and posted on CPS Deadline: May 15. Full $500 & publication Details at dzanc accepted for the 2022 our judge. Deadline:
Classif ieds

website. See guidelines guidelines: www (honorable mention). books.org. Westmoreland Arts August 31. $10 per
on Submittable and .crabcreekreview.org/ All finalists will be listed & Heritage Festival poem, $25 for 3. Feed-
CPS website: contests.html. in the 2022 Fall/Winter Poetry and Short Story back: $5 per poem.
ENTER THE FIRST
ctpoetry.net. awards issue. $20 entry Contest. $10 for 2 More info: www
Pages Prize with your .tellurideinstitute.org/
fee includes a copy poems or 1 short story.
DANCING POETRY first pages of a longer
of the awards issue. $1,000 total awards. talking-gourds.
THE COWLES OPEN Contest. Deadline: work of fiction or
Poetry Book Prize. April 15. Winners Submit 1 story or essay Award winners may
up to 8,000 words from creative nonfiction.
$2,000, publication and read at Palace of the read on stage. Deadline: THE FOURTH
March 1 to May 1. For Open to unagented April 22. Entry form,
distribution of Legion of Honor, writers worldwide, Genre Steinberg
full-length poetry San Francisco, or on complete guidelines and fee, and 2 copies of Memorial Essay Prize
judge information visitMarch 1–April 24. works mailed to: 252
manuscript, 30 copies Zoom. Any subject, is accepting submis-
our website: www Awarding $6,000 in Twin Lakes Rd., Latrobe,
for author. Color cover, 40-line max, 51 cash sions from January
.decembermag.org/ cash, editing, and agent PA 15650. Submit by
48 to 100 pp, $25 awards. Three grand 1 to March 15. The
2022-curt-johnson consultations to 5 e-mail at info@artsand
reading fee. Deadline: prizes choreographed. 2022 contest judge is
-prose-awards. winners. Visit www heritage.com. Phone:
April 1. Guidelines at Send 2 copies, one with essayist Mary Cappello.
.firstpagesprize.com. (724) 834-7474. Entry
www.semopress.com/ ID. One/$5, 3/$10, no Winning author
events/cowles-prize. limit. To: Judy Cheung, DZANC BOOKS form available: www receives $1,000 and
.artsandheritage.com/
Submit through our 704 Brigham Ave., seeks innovative literary ENTER - 1000 publication in the issue
Submittable account. Santa Rosa, CA 95404. the-arts/literary-arts. that’s featured at AWP.
fiction and story collec- Below, Midway Jour-
Website: www.dancing tions for its annual nal’s annual flash prose $20 per entry, up to
poetry.com. 6,000 words. Detailed
CRAB CREEK contests. Contests and poetry contest. FISCHER PRIZE .
The contest runs from submission guidelines:
Review 2022 Poetry include the annual Prize 25th year. $1,000 first
March 1–May 31. fourthgenre.org.
Prize. Judge: C. Dale DECEMBER for Fiction, offering prize. Five $250 finalist
Young. $500 plus publi- Magazine seeks submis- a $5,000 advance and $500 grand prize. $250 prizes. Winners each
cation. Submit up to 4 sions for our 2022 Curt publication, and the second prize. $50 third featured at monthly LYNNE THOMPSON
poems. $16 entry fee. Johnson Prose Awards Short Story Collection prize. $10 entry fee. Bardic Trails Zoom will serve as guest judge
All entries considered in fiction and creative Prize, $2,500 advance/ Unlimited entries. Go readings from Tellu- of the MacGuffin’s 27th
for publication. Winner nonfiction. Prizes publication. $25 reading to midwayjournal.com ride in 2023. Open to Poet Hunt. First prize
& finalists will appear each genre: $1,500 & fee per submission. for more details. all poets/styles. Anna will receive $500 and

MARCH APRIL 2022 128

publication. Send up to NORTH STREET submitted poems (the latter depending details: www.inlandia entries published
5 poems per $15 entry Book Prize for Self- will appear in Quiet on Covid restrictions). institute.org/books/the online. Fee: $20. Limit:

Classif ieds
fee via Submittable, Published Books. Diamonds, our annual Two runners-up -hillary-gravendyk-prize. 6,000 words. Both
e-mail, or post. Entries Eighth year. Grand poetry journal, and awarded $100 each. published and unpub-
accepted from April 1 prize of $8,000. Top select entrants will Three–five honorable lished work accepted.
SWAN SCYTHE
to June 15. Fee includes winner in each category be invited to submit mentions. All winning Final judge: Denne
Press announces its
1 free issue. Full guide- will win $1,000. Cate- chapbooks for possible poems plus several Michele Norris. Submit
2022 poetry chapbook
lines: www.schoolcraft gories: Mainstream/ publication. In 2021, finalists are published. by April 30. Enter at
contest. Entry fee:
.edu/macguffin. Literary Fiction, Genre we published 15 chap- 2021 judge was Aimee www.winningwriters
$18. We are accepting
Fiction, Creative Nezhukumatathil. .com/tomstory.
books from entrants to submissions from
Nonfiction & Memoir, the contest. Submit 4 2022 judge TBA. March 1 to June 15
NELLIGAN PRIZE Poetry, Children’s Submit up to 3 poems
previously unpublished, (postmark deadline). THE UNIVERSITY
for Short Fiction. Picture Book, Graphic by April 15. Entry of Arkansas Press is
original poems and the Winner receives $200
$2,500 awarded for the Novel & Memoir, and fee of $20 includes and 25 perfect-bound accepting submissions
$14 fee to: The Orchard
winning short story, Art Book. $16,750 in 1-year subscription (2 chapbooks. The 2021 for the Miller Williams
Street Press, P.O. Box
plus publication in the total cash prizes. Fee: issues). See website for winner is Rae Gouirand Poetry Prize, selected
280, Gates Mills, OH
Fall 2022 issue of Colo- $70 per book. Submit guidelines and recent for Little Hour. For full by Patricia Smith. The
44040. Entries can also
rado Review. Deadline: by June 30. Final winners: www.litline guidelines, visit www winner receives $5,000
be submitted via our
postmark of March 14. judges: Jendi Reiter and .org/spoon. .swanscythepress.com and publication. Up
website. For submis-
Entry fee: $15. Final Ellen LaFleche. Submit and swanscythepress to 3 additional books
sion details, check our
judge: Ramona Ausubel. online or by mail. SUBMIT TO
.submittable.com/ also receive publica-
website: orchpress.com.
Friends and students of Guidelines: www the Hillary Gravendyk submit. tion. Applications are
Deadline: April 30.
the judge are ineligible .winningwriters.com/ Prize. 48–100 pages
accepted year-round.
to compete. Obtain north. The deadline for the
poetry book manuscript TOM HOWARD /
complete guidelines at SRPR ( SPOON RIVER following year’s prize is
through Submittable John H. Reid Fiction
www.nelliganprize Poetry Review) 2022 September 30. Website:
THE ORCHARD February 1–April 30. & Essay Contest. 30th
.colostate.edu or Editor’s Prize: winner www.uapress.com.
Street Press announces $20 submission fee. year. Prize for best
Nelligan Prize, Colorado its fifth annual Poetry awarded $1,000 + Two prizes: National short story: $3,000.
Review, 9105 Campus Contest: $500 first judge’s intro + hono- and Regional, $1,000 Prize for best essay: WERGLE FLOMP
Delivery, Colorado State prize, $300 second, rarium and all-expense- plus 20 copies and $3,000. Total prizes: Humor Poetry
University, Fort Collins, $200 third. Prize- paid visit to Illinois standard book contract. $8,000. Co-sponsor: Contest. No fee.
CO 80523-9105. winning and other for our annual reading Judged blind. Complete Duotrope. Winning 21st year. Top prize:

129 POETS & WRITERS

 C ONT ES TS

$2,000. Total prizes: poetry that enlightens overlooking Mussel wild beauty to concen- in Residence is for you. rooms, high-speed
$3,500. Co-sponsor: and entertains. Get it Ridge Cove, South trate on their work. Serene and secluded Wi-Fi, well-equipped
Duotrope. Winning Thomaston, Maine. time for writing with
Classif ieds

anywhere you listen to www.ikescanyon.com. kitchen. Provides

entries published podcasts or go to Apartment includes evening group session. peace and inspira-
online. Submit 1 humor wackypoemlife.com for living room, eat-in Daily generative time tion. CDC protocols
poem by April 1. Both JOIN THE LIT and nightly group
more information. kitchen, bath, laundry, observed. Fellowships
published and unpub- and patio. Cable and Camp writing commu- dinner and discus-
nity! In addition to and one-on-one novel
lished work accepted. internet access. Addi- sion in the Writers’
workshops. Availability
Final judge: Jendi Publications tional studio space our annual conference, Salon house. Includes
by day, week, month.
Reiter. Enter at www possible. Preference we sponsor writing accommodations, daily
.winningwriters.com/ retreats (in beautiful breakfast and dinner, Three hours from D.C.
CHIRON REVIEW given to those renting Website: www
wergle. Mendocino County), generative time, 3-hour
is 40! We’re celebrating 2 weeks or more. Art/ daily salon, and sharing. .porcheswritingretreat
writing workshops virtual events, and—3
all year with special 6–8 participants. Full- .com. E-mail: trudy
also offered. See times each month—2-
WILLOW SPRINGS anthologies: Spring, [email protected].
www.26splitrockcove hour sessions of writing session commitment
Books is now accepting best of 1982–1992; preferable, minimum
in community. Our
submissions for the Summer: All LGBTQ+ .com for more infor-
2022 Spokane Prize for anthology; Fall: Tribute mation; or contact writing sessions are held 2 nights by request. WRITER ’ S HOUSE ,
Short Fiction. Manu- sandy@26splitrockcove on Zoom, and everyone Early-bird discount Brittany, France. 150
to Gerald Locklin; deadline: July 1. For
scripts must have a .com; phone: (207) is welcome. Visit our years old. Beamed ceil-
minimum of 3 stories of
Winter: War & peace
596-7624. website for more infor- more details and appli- ings, original floors,
anthology. Look for our cation, visit www.the
fiction totaling at least mation: www.litcamp quiet, safe, antique
most recent issues on writerssalon.net/
98 pages. Deadline: writers.org. furnishings, and all
June 15. Reading fee: Amazon and Lulu.com, IKE ’ S CANYON offerings or e-mail
anne@thewriterssalon modern conveniences:
$27.50. Full guidelines and visit us at www Ranch is a remote, high
.chironreview.com. plains desert retreat in OCTOBER WRITERS .net. shower, electricity,
at www.wse
the spectacular Monitor in Residence Retreat at dishwasher, washer-
.submittable.com/
submit. Rentals/ Valley of central the lodgeatwhite PORCHES WRITING
dryer, DVD, Wi-Fi;
Retreats Nevada. At 7,200 feet hawk.com in the Retreat, a historic ¾ acre with flowers
elevation and under Sierra Nevada, north farmhouse overlooking and fruit trees; facing
Miscellaneous 26 SPLIT ROCK the clearest view of the of Tahoe. October the James River in river/canal. Gorgeous.
Cove Retreat. A perfect Milky Way, retreats 9–21. Need time and the Blue Ridge foot- Contact Mark at e-mail:
WACKY POEM LIFE space for writers in are for writers, editors, space to write in peace, hills of VA. Spacious [email protected];
is the 30-minute every season! Beautiful translators, and artists without distractions? porches, comfort- phone: (510) 866-5496;
podcast about found 1-bedroom apartment seeking true silence and The October Writers able, high-ceilinged (510) 290-9497.

If you love to read or write, there’s

a place for you at Hugo House.
Online writing classes taught by
award-winning authors.
hugohouse.org

MARCH APRIL 2022 130

WRITERS IN Residencies views. View on the Ezra Arts in Ithaca, NY Springs, a historical LOOKING FOR A
Residence Retreat at the site: www.ezra offers free, stipend- arts village in the writing community?
translation.com. supported residencies Arkansas Ozarks.

Classif ieds
lodgeatwhitehawk.com DORLAND The Babes Who
in the Sierra Nevada, and low-cost retreat Gourmet dinners are Write is an inclusive
Mountain Arts
north of Tahoe. May space for New York served weeknights and community for women
Residency located in MINERAL SCHOOL :
14–21. Need time and State artists and writers. a community kitchen is & women-identifying
the hills overlooking Join a 1- or 2-week
space to write in peace, We are small and stocked for other meals.
the beautiful Temecula 2022 writing or visual writers. Access to
without distractions? Valley wine country personal with 5 private www.writerscolony.org.
arts residency in writing groups, work-
of Southern CA. Five rooms and baths. We
The Writers in Resi- shops with some of the
Mineral, WA, near now offer accessible
dence is for you. Serene separate, self-contained
Mt. Rainier. Live in a accommodations with Resources best in the business,
and secluded space for cottages with work- and more. Babes Who
space & porch—easily schoolhouse with fellow a private, accessible
writing with evening 1-bedroom suite, ARE YOU A Write is run by HerStry
providing social residents, in a private
group session. Daily bath, studio, kitchen, confident writer? Lit Magazine. Join
distancing. Cleaned/ studio/bedroom, with
generative time and and common space. Try our free online today! www.herstryblg
sanitized days between all meals provided.
nightly group dinner Come for a retreat (no grammar checker at .com/join-the-babes.
residents. Hiking trails/ Spanish-only writer
and discussion in the application required), https://www.grammar
ponds/views. Peaceful, program with Seattle
Writers’ Salon house. serene, inspiring. Finish Escribe debuts in 2022. or bookmark us for a check.net/editor/.
Includes accommoda- residency in 2023. Free
Services
your project. Apply/ Fellowships available.
tions, daily breakfast reserve now! E-mail: to apply. Deadline for
Applications open ATTAIN CLARITY ,
and dinner, generative info@dorlandartscolony March 1 to April 15. To applications will be ABLE AND
peace, and concentra-
time, 3-hour daily .org; website: www in mid-January. Visit: experienced editor
apply, visit www tion. Diminish the ego
salon, and sharing. .dorlandartscolony.org; saltonstall.org. for poetry and prose.
.mineral-school.org and write better. Let a
6–8 participants. Full- phone: (951) 302-3837. Respectful. Thorough.
or www.mineralschool fellow writer teach you
session commitment Prize-winning author
.submittable.com/ THE WRITERS ’ his meditation method
preferable, minimum 2 in a powerful 1-hour in multiple genres. As
EZRA RESIDENCIES ! submit. Colony at Dairy
nights by request. For Hollow offers residen- Zoom session, or over a team, we can raise
Solitary residency
more details and appli- (summer), competitive, cies to writers of all the phone. $45. Learn your work—poems,
cation, visit www offered by Ezra: An A QUIET STUDIO . backgrounds, genres, first, pay later. Call Phil flash, short stories,
.thewriterssalon.net/ Online Journal of Trans- A beautiful setting. and experience levels. (during normal hours, novel, memoir, query,
offerings or e-mail lation. Cottage in NH Time for inspira- It’s nestled amongst please, EDT) at (631) or application letter—to
anne@thewriterssalon Lakes Region, quiet tion. The Saltonstall nature within walking 252-8341. Or write to: the next level. Publica-
.net. road, woods, mountain Foundation for the distance to Eureka [email protected]. tion advice available.

131 POETS & WRITERS

 S E RV IC ES

E-mail: dmgordon@ ACADEMIC Marcia Trahan, Music (Four Way + $150 report fee; hard- website: www.withpen
comcast.net. Website: Editorial Services. memoirist (Mercy, Books). Former CW copy annotation avail- andpaper.com; phone:
Classif ieds

www.dmgordon Former editor for the Barrelhouse Books) MFA faculty editor at able. Deposit required. (310) 828-8421.
editorial.com. UN, academic with an and editor with 18 SNC. Details: www Beginners and experi-
MFA, MA, and PhD. years’ experience, offers .aprilossmann.com. enced writers welcome.
Book-length manu- ART OF THE
ABLE AND critique, copyediting, E-mail: aprilossmann@ Also, line editing, $40/
scripts, monographs, Novel: I work with
well-known writer, and help with queries hotmail.com. hr; free sample. Our
chapters, scholarly arti- published and unpub-
teacher, editor, and proposals. Special- relationship is lished novelists in all
cles, CV, job applica-
(Scribner, Random izing in memoir; also ACCOMPLISHED confidential. Contact phases of development,
tions, and belles-lettres.
House, Bantam, Dell, handles wide range of writingmentor@yahoo both privately and
Developmental editing, editor Wyn Cooper
the Iowa Writers’ fiction. Traditional and .com for further infor- through UCLA Exten-
copyediting, proof- works with writers of
Workshop, Narra- indie authors welcome. sion Writers’ Program,
reading, and polishing. poetry, fiction, nonfic- mation.
tive, Harper’s, The Patient, supportive where I teach the
I give a specific quote tion, and memoir. I help
Paris Review, Vanity approach. E-mail: Master Course in Novel
once I see a manuscript you revise and perfect
Fair, The American
and before editorial info@marciatrahan AFFORDABLE , Writing. I seek to
Scholar, Esquire, GQ, your manuscript, and
work has begun. I use .com. Website: www offer publishing advice. powerful, and compre- combine the best of an
Ploughshares) offers experienced editor and
a secure invoice system .marciatrahan.com. Sixty-five books I edited hensive editorial
manuscript critique, inspiring teacher,
that allows domestic have been published services can give your
editing, private tutorials helping writers revise
and international in the last nine years; manuscript an edge.
on short stories, novels, ACCLAIMED POETRY their manuscripts. For
payments with credit Helga Schier, PhD,
and literary nonfiction. editor, former execu- ten have won awards.
cards or e-checks. I testimonials, visit www
Authors edited include tive director of Alice Free consultation. See publishing executive,
can return manuscript .robert-eversz.com.
Rick Bass, Richard
edits within 4–6 weeks James Books, 20+ years’ website for details: professional editor, and
Bausch, T. C. Boyle, www.wyncooper.com. published author offers
or sooner with an editing experience.
Jennifer Egan, Min Jin E-mail: wyncooper@ in-depth evaluation, AUTHOR , AUTHOR !
additional “rush” fee. Professional manuscript
Lee, Anthony Marra, gmail.com. line editing, revisions. Professional editor,
E-mail: saundra@ evaluation, compre-
Viet Thanh Nguyen, literary midwife,
nortonediting.com. hensive editing. Edits Want to write a good
Joyce Carol Oates, award-winning author
James Salter, Robert to suit various budgets. AFFORDABLE book? Let me help you (Bantam, Avon, Scho-
Stone, and many others. ACCESSIBLE , Workshops, tutorials, evaluation of novel unlock the potential lastic, Berkley/Ace,
Contact: editor@ affordable services: Visit publishing, publicity manuscripts by author of your manuscript. others) offers extensive
tomjenks.com. Website: my website for budget- advice. Author of Event of The Last Draft. Contact me at helga@ critiques, tutorials,
tomjenks.com. sensitive options. Boundaries and Anxious $1.20/page (250 words) withpenandpaper.com; revisions, support.

ABC
The Literary
Magazines database.
Submit your work
with confidence.

E D ITO R I A L P O L IC I E S , S U B M ISS I O N
G U I D E L I N E S , C O NTAC T
I N F O R M AT I O N —T H E WO R KS .

pw.org/
literary_magazines

MARCH APRIL 2022 132

Upgrade your writing hughcook212@gmail generosity, command audio for the ear bud DEVELOPMENTAL writers who subscribe to
skills; solve problems .com. Website: hugh of craft, acute editorial set. Emmy winner and editor. Top 10 New Submit Write Now! In

Classif ieds
with plot, character -cook.ca. skill. Website: www highly rated Audible England editor. our 27th year! Writer’s
development, pacing. .birdsandmuses.com. .com narrator Tom “Sharpest improvement Relief, Inc., 18766 John
Specialties include Weitzel records for ever seen” (client’s J. Williams Hwy., Unit 4,
AWARD - WINNING
literary and mainstream Penguin Random agent). Fiction, P.O. Box 335, Rehoboth
fiction writer, graduate BLOCKED ?
fiction, mystery/thriller, of the Iowa Writers’ House, Punch Audio, nonfiction—popular/ Beach, DE 19971.
Struggling? I’ll help
juvenile/YA, general Workshop, literary and independent scholarly. Master stylist: Phone: (866) 405-3003.
you finish that project!
nonfiction, psychology, editor and university Break through blocks authors. He can guide shape, focus narra- Website: www
spirituality. Carol CW instructor, offers with professional your project from tive to target reader. .writersrelief.com.
Gaskin. Phone: (941) stylistic editing that will
writing mentoring beginning to download. Grammar, syntax,
377-7640. E-mail: make your manuscript from published Samples at tomweitzel clarity, consistency,
EDITORIAL
carol@editorialalchemy sing. Contact Dalia journalist, poet, play- .com. Or contact at structure, transition,
services from a
Rosenfeld. E-mail: wright, researcher. booksaloudbyweitzel@ logic. English professor,
.com. Website: www nurturing but
drosenfeld1026@gmail Skilled editor, gmail.com. journalist, poet, captain.
.editorialalchemy.com. whip-cracking, well-
.com. Website: dalia experienced teacher, Susan Schmidt, PhD.
connected author (Bang
rosenfeld.weebly.com. compassionate coach. Phone: (252) 269-0032.
DEVELOPMENTAL the Keys, The Great
AWARD - WINNING P.S. I love working with
New genre? Creative E-mail: susu@
editing, with 50+ books Bravura) who will
fiction writer, graduate people! transition? Unearthed susanschmidt.net;
sold to traditional help you unleash the
of Iowa Writers’ manuscript? Personal susankiwi15@gmail
publishers. Malone true fabulosity in your
Workshop, creative dream?—I can help .com. Website:
BIRDS & MUSES Editorial helps projects and bring them
writing teacher of you write, edit, publish! www.susanschmidt
Mentorship for Women turn manuscripts to fruition in the real
35 years, provides Carol Burbank, MA, .net; www.the-efa.org/
Writers. Realize your into traditionally world before depression
personalized manu- PhD. Free 30-minute memberinfo/m-susan
vision with a mentor as published books and or drink destroy your
script editing. I offer consultation. E-mail: -schmidt-13097.
invested in your story writers into successful, nerve! Fiction, nonfic-
detailed editing, honest & your growth as you cburbank@storyweaving
award-winning authors. tion, scripts, poetry,
evaluation, and sensitive are. Acclaimed novelist, .com. Website: www In-depth and personal DON ’ T HAVE TIME theses. Ten percent
critique. I work with .storyweaving.com.
memoirist, editor Kate website: www.malone to submit your creative discount if you mention
new and experienced Moses: Taking writers editorial.com. writing? We can help. PW ad. E-mail: jill
writers, fiction and under her wing for 3 “ BOOKS ALOUD BY E-mail: malone Submission leads and [email protected].
nonfiction. Contact decades with startling Weitzel.” Turn your editorial@hotmail cover/query letter Website: www
Hugh Cook. E-mail: insights, attentive print prose into vibrant .com. guidelines. Join 60,000+ .jilldearman.com.

133 POETS & WRITERS

 S E RV IC ES

EXPERIENCED Contact: Andrea R. synopsis, selection of PARIS PRESS MS Word, typewriter, with language. Close
editor works across all Canaan, MSW, MFA. the authentic narrator, founder and former handwritten, audio editing, attention to big
Classif ieds

genres. Services ranging E-mail: andreacanaan character-rich develop- director Jan Freeman accepted. Medical picture, phone or Skype
from basic proofreading [email protected]. ment, clothes-lining, provides coaching, terminology specialty. conferences—U.S. or
to formatting of Website: www.andrea dialogue, action, manuscript consulta- Free brochure. Will international. Expe-
manuscripts. Feedback canaan.blog. reflection, mise en tions and development, type sample pages of rienced poet/teacher,
provided for each client scène, along with editing services to your manuscript free. award-winning author
and discounts for long- aspects of editing, writers and poets. Let’s Phone: (800) 538-8206. of 11 collections, 5 with
GET A STAR - RATED map out a project or E-mail: wordstation@
term clients. Genre book layout, design, Godine and Knopf. I
fiction, nonfiction, professional book tackle a fresh revision comcast.net. founded and taught
and publishing. The
academia, marketing review, seen by 185,000 to prepare for final in the MFA and post-
Inside-Out Writing
content, business readers. The trusted submissions. Works graduate conference
technique assists writers THE POET ’ S BILLOW
content, poetry, and name for independent in progress, finished at Vermont College.
in crafting stories that is running 20% off
authors since 2008. manuscripts, chap- E-mail: roger
more. Published writer emanate from deep special packages on
www.selfpublishing books, new and selected weingarten12@gmail
with 10+ years of expe- within each of their mentoring and submis-
review.com/get collections. Forty
rience. See sarinabosco characters’ souls. sion services: work .com. For further
-reviewed. years of experience.
.com for more informa- Clients are encouraged with award-winning details, please visit
janfreemaneditorial@
tion; e-mail sarina to find their deep voice writers in one-on-one website: www.roger
gmail.com; website:
[email protected] to NOEL ANENBERG and write stories only or workshop sessions to weingarten.com.
www.janfreeman.net/
inquire. MPW is a published they know how to write. editing-services. revise, create, consult
novelist, a contributor References available. on manuscripts, apply RESPECTFUL ,
to The Wall Street All levels of writers are to MFA programs or affordable feedback
FREE SESSION PATTY SHANNON
Journal, The Los Angeles welcome. Complimen- submit your work to
with Writer Wellness (formerly Wordsta- in fiction, nonfiction,
tary 30-minute consul- literary journals. The
Consultant and Mentor. Times, and a professor tion). When you screenwriting, and
of creative writing at tation. Don’t hesitate to Poet’s Billow also runs 3
Have writing begging don’t need an editor, poetry. Award-winning
Pierce College Los contact me with ques- annual poetry awards.
to get on the page, just good typing and writer with over 15
tions. Noel Anenberg Website: www.thepoets
revised, and moved on Angeles. He offers professional proof- years’ college teaching
billow.org.
to publishing? Want to personalized guid- MPW: www.noel reading—grammar, experience. From line
find out what’s in the ance in all areas of anenberg.com; e-mail: spelling, punctuation, edits to global revi-
way? Give yourself the the writing process, noel.anenberg@gmail consistency corrections POETRY , POETRY sions, character work
gift of a free consulta- including story selec- .com; phone: (818) included. Friendly MS. Expand your to creative coaching,
tion and get started. tion, outline, and 259-2037. service since 1989. range, syntax, facility brainstorming to final

ABC Free Workshops

with $35 annual membership
The Small Presses everyone deserves access to the
database. Pursue your best poetry workshops !

book’s publication. NEpoetrysociety.org

R E L I A B L E I N F O R M AT I O N O N
P U B L IS H E R S A N D H OW READY TO WRITE
TO Q U E RY T H E M .
YOUR BOOK?
pw.org/
7XYH][MXL&IXW]&S]H.ERI(IPYV]
7XIZIR0I]ZEERH1EVMSR;MRMO

small_presses 5ROOLQJDSSOLFDWLRQV
UBALT.EDU/WRITERS

MARCH APRIL 2022 134

draft, I’m here for what teaches in the Creativein the development of KCRW’s Book- time to write, small- everywhere. Website:
you need. MFA, PhD Writing MA Program of their individual worm. Visit: jonathan group workshopping, www.larksongwriters

Classif ieds
in CW. Initial consulta- at the University of voices and practice of blumwriter.com. and opportunities to place.org.
tions are free. Website: Denver. www.page their craft. Workshops explore the surround-
adamprinceauthor.com. lambert.com. in Center City and ings. Master Workshop
JOIN US FOR THE YMCA ’ S
Delaware County, PA ThinkingFunny22, limited to 5 students. Downtown Writers
Workshops FOR OVER 50 (online during Covid-19 the 2nd annual virtual Both workshops led by Center in Syracuse,
summers, the Commu- crisis), following the humor-writing work- Henriette Lazaridis. NY, now celebrating
nity of Writers has Amherst Writers & shop at www.thinking Visit www.krouna its 20th anniversary
CREATIVE WRITING
held weeklong summer Artists (AWA) method. funny.com. Learn from writingworkshop.com. season, offers a wide
adventures with Page writing workshops in Writers of all ages, experienced, top-tier range of online creative
Lambert. Celebrating the High Sierra. Poets
levels of experience, and talent, get immediate writing workshops
25 years! Featured 2022 and writers come to LARKSONG WRITERS and literary readings.
feedback and year-long
retreats include 3-day improve their craft with genres welcome. Phone: Place is dedicated to Workshops and craft
small group intensives (610) 853-0296. E-mail: access to the recorded
small workshops and building a supportive courses are available
sessions. $100. Ques-
(ongoing, Colorado); individual conferences, ah@philawordshop community for writers in poetry, fiction,
Tuscany Spring Renais- craft lectures, panels, .com. Website: www tions? E-mail: info@
thinkingfunny.com. of all levels of experi- nonfiction, drama,
sance (May, Italy); readings and more. .philawordshop.com.
ence. We offer multi- and more—all taught
Literature & Landscape Poetry: June 18-25;
Writers Workshops in genre workshops led by by widely published
of the Horse (June, KROUNA WRITING writers who are serious
Fiction, Memoir and JOIN A WRITING accomplished writers
Wyoming); Weaving Workshop, Summer
Narrative Nonfiction, class on Zoom with and publishers, a variety both about craft and
Words & Women 2022: Workshop, learn, community. Whether
(August, Peru), River July 18-25. Scholarships Jonathan Blum, author and write surrounded
of literary events,
you are a beginner
Writing Journeys for and financial aid avail- of The Usual Uncertain- including First Friday
by the mountain or an experienced,
Women (September, able. Deadline to apply: ties and Last Word. All reading series, April
beauty of the village of publishing writer, we
March 28. Website: levels welcome; spring Poetry Month, and
Utah); Santa Fe & Papingo in northern have programs that
www.communityof classes begin May 14. “I NaNoWriMo events,
Taos Autumn Sojourn Greece. Master-Level will keep you engaged
writers.org. think this would be a plus a super fun Speed
(September, New Workshop July 10–16 and learning. For
Mexico); Fall Writing life-changing experi- and a new Genera- Reading and Writing more information, visit
Retreat in the Berk- GREATER ence for a student tive Workshop for all Holiday Party each https://ycny.org/dwc, or
shires (October, Massa- Philadelphia Wordshop writer.”—Michael levels July 31–August year. Join us! Based e-mail dwcworkshops@
chusetts). Lambert Studio supports writers Silverblatt, host 6. Each day includes in Nebraska. Online ymcacny.org.

Eighteen new poems from

TED KOOSER, winner of the
Pulitzer Prize for poetry and
twice the US Poet Laureate.
PRESS

PULLEYPRESS.COM

PULLEY

135 POETS & WRITERS

POETS & WRITERS IS MORE than a magazine. We are a nonprofit organization dedicated to serving creative writers. We pay fees
to writers giving readings and leading workshops, provide information and advice to authors, and help them connect with one another and
with audiences. We also sponsor a number of awards and prizes. Learn more at pw.org.

Rhode Island Writers Connect

In November 2021, as the wave of COVID infections tem- I’m doing now and my goal of publishing a book and gave
porarily receded, before the Omicron variant came roaring me the confidence to devote more time and resources to
in, Poets & Writers welcomed two writers from Rhode accomplishing that goal.”
Island to New York City for a round of meetings with “So much of the world does not affirm the time and
agents, editors, publishers, and authors. space given over to the creative act,” Vinson adds, “so to be
The all-expenses-paid trip is the prize offered to win- bolstered by conversation after conversation that affirmed
ners of the Maureen Egen Writers Exchange Award, my process motivated me to make more space in my daily
which aims to provide promising writers a network for life for my writing practice—to keep the work close, as
professional advancement and is generously supported by one writer advised, ‘like mittens clipped to a snowsuit.’”
Maureen Mahon Egen, a member of Poets & Writers’ The distinctive award reflects Poets & Writers’ under-
Emeritus Board. standing that a supportive community is vital to the suc-
Each year Poets & Writers selects one state (or Wash- cess of most writers. “As a debut novelist entering into
ington, D.C.) and invites writers from that location to the prepublication juggernaut,” says Denelle, whose first
apply for the Writers Exchange Award. In 2021 the state novel, It’s Not Nothing, will be published by the Santa Fe
was Rhode Island. The contest was judged by Madeleine Writers Project later this year, “I’ve been caught up in a
Thien in fiction and Prageeta Sharma in poetry, who se- kind of existential crisis, feeling overwhelmed and unde-
lected fiction writer Courtney Denelle and poet Jodie serving. But the meetings were good medicine, dispelling
Noel Vinson as the winners. Once selected, Denelle my doubts and fears—or, if not dispelling, then validat-
and Vinson worked with Bonnie Rose Marcus, Poets & ing my experience as one common among debut authors.
Writers’ director of Readings & Workshops (East) and That sense of mutual support has firmed up the ground
the Writers Exchange, to identify members of the liter- beneath my feet.”
ary and publishing communities they would like to meet. To date, 108 writers from forty-two states and the Dis-
Working from these wish lists, Marcus arranged a series of trict of Columbia have received the Writers Exchange
meetings and planned the winners’ trip to New York City, Award; as a direct result of winning, over the years many
which included a stay at the Library Hotel in Manhattan. writers have had their books published, received fellow-
Because of the pandemic, this year’s meetings were a ships, secured teaching positions, and laid the groundwork
mix of video calls, coffee dates, and lunches held at out- for their professional lives as writers. The award has helped
door dining spots around New York City. Editors Brigid to launch the careers of Sue Monk Kidd (The Invention of
Hughes and Jeff Shotts, literary agent Nicole Aragi, and Wings, The Secret Life of Bees) and Lidia Yuknavitch (The
authors Emily St. John Mandel, Meg Wolitzer, and Han- Chronology of Water, The Small Backs of Children), among
nah Tinti were among the professionals who met with others.
Denelle and Vinson. A few months later we asked the two “The support and encouragement of the Poets & Writers
winners to reflect on the experience. staff was another unexpected treasure,” says Vinson. “The
“I was taken aback by the warmth and generosity of the pandemic has scaled down opportunities to build relation-
writers, editors, and publishing professionals we met, all ships within the literary community, which was one of the
of them asking outright, ‘How can I help?’” says Denelle. greatest gifts of this award. I was reminded how much we
Vinson echoes this sentiment. “I received so much valu- lose when not intimately connected to other writers and
able advice about the process of bringing a book into the how essential community is to the work, which is, in the
world, as well as insights into the rapidly changing world end, always a collaborative process.”
of publishing. The highlight of this experience was meet- Winners of the 2022 Maureen Egen Writers Exchange
ing writers and editors willing to dive deep into my book Award for writers in Nebraska will be announced this sum-
project, allowing me to envision what was possible, as well mer. The state for the 2023 contest will be announced
as the work I needed to do to get it there. Winning the in the fall, with a deadline next spring. Learn more at
award helped me redefine the distance between the work pw.org/WEX.

MARCH APRIL 2022 136