Based on month each opens:
http://thelinebreak.wordpress.com/tag/the-song-cave/
January:
http://www.sarabandebooks.org/?page_id=1099
Sawtooth https://ahsahtapress.org/open-submissions/sawtooth-poetry-prize/
http://fourwaybooks.com/contest.php
http://www.mainstreetrag.com/PoBkCont.html
February
http://www.canarium.org/contact/
http://www.saturnaliabooks.org/
http://www.kent.edu/wick/competitions/first-book.cfm
April
http://www.uakron.edu/uapress/akron-poetry-prize/
http://www.losthorsepress.org/the-idaho-prize/
http://www.uiowapress.org/authors/iowa-prize.htm
May
Omnidawn First/Second Book
Ahsahta Press
1913 Press
Horse Less Press: Deadline May 31
June
Black Ocean
Les Figues Press
1913 Press
Brooklyn Arts Press
http://www.autumnhouse.org/contest-submissions/
July
BOA Editions
Subito Press
Factory Hollow Press
Tupelo Press
August
Red Hen Press: Deadline Aug 31
http://www.umass.edu/umpress/content/juniper-prizes
September
https://ohiostatepress.org/index.htm?/books/series%20pages/poetry.html
November
Omnidawn Open Contest
http://www.csuohio.edu/poetrycenter/contest/
Tuesday, April 2, 2013
Monday, April 1, 2013
New projects
I have almost completed Topeka cento. The first draft is done, but I'm hoping Tod Marshall will come through for me. He is the last major Topeka poet left.
Also, as of yesterday, I have Amy King's permission to use her book I Want to Make You Safe for my next project. I truly admire her work, both on and outside of the page. She and Ana are inspirations--which is why the next project is autobiographical. As I am reading her work around Topeka, maybe aloud even, it serves as a site for social change. Look at Amy's own work in these areas. Maybe this is the catalyst for the project?
It starts with mapping out Topeka, and mapping out the Table of Contents. I am coping things out of the book. I would love to get my hands on some Topeka maps outside of the web. Maybe there are maps that conentrate on the areas I want to write in?
Also, as of yesterday, I have Amy King's permission to use her book I Want to Make You Safe for my next project. I truly admire her work, both on and outside of the page. She and Ana are inspirations--which is why the next project is autobiographical. As I am reading her work around Topeka, maybe aloud even, it serves as a site for social change. Look at Amy's own work in these areas. Maybe this is the catalyst for the project?
It starts with mapping out Topeka, and mapping out the Table of Contents. I am coping things out of the book. I would love to get my hands on some Topeka maps outside of the web. Maybe there are maps that conentrate on the areas I want to write in?
Friday, March 29, 2013
Taco poems
Tortilla Jack's opened in 1982, just when I was going into Robinson Middle School. Comics & Fantasys [sp] was just down the way, so I escaped those bullies by running into Comics & Fantasys, turning to the pages of comic books for shelter and support. Afterwards, it was off to TJ's for a Dr. Pepper, a taco, and nachos while I read my weekly gems. I love the burraco now: part taco, part burrito. Please look for my taco poems (below) in the current seveneightfive. :) Also, I look forward to continuing the tradition with my children.
[
Two out of two poets prefer the taste of Tortilla Jack’s over Taco Villa and Taco Casa.
over some white flour, drip-through
soft tacos kept warm downtown under a lamp
with a hot orange bulb.
iPhones out--who stop only at the chains.
narrow windows, you see the path
away from middle school
bullies, a run, to here—
comics spread across the table,
a ticket in your right hand,
waiting for your order
No one can break through
Captain America’s shield.
No one can steal
your taco and Dr. Pepper.
for $5.07 on a weekday.
Less on the weekend.
See flecks of history painted in brick.
TORTILLA JACK'S
The letters crack in rain and wind.
he found three tacos.
[
Taco Showdown Poems
Tortilla Jack's
Kevin
Rabas
Choose four hard corn tacos
in plain white
butcher paperover some white flour, drip-through
soft tacos kept warm downtown under a lamp
with a hot orange bulb.
Choose the land of dark hardwood interior
over the land of teal plastic.
Choose the conversation of graying grade school soccer
coaches over the
chatter of slick SUV travelers—iPhones out--who stop only at the chains.
[
Tortilla Jack’s
Sonnet
Dennis
Etzel Jr.
From inside the brick walls, rustic
like stains from oven heat, throughnarrow windows, you see the path
away from middle school
bullies, a run, to here—
comics spread across the table,
a ticket in your right hand,
waiting for your order
number to be called, and no one
will race you for your food. No one can break through
Captain America’s shield.
No one can steal
your taco and Dr. Pepper.
[
Cheap Tacos
Kevin
Rabas
Walk across from the college
and get four tacos
and a drinkfor $5.07 on a weekday.
Less on the weekend.
See flecks of history painted in brick.
TORTILLA JACK'S
The letters crack in rain and wind.
[
Tortilla Jack’s
Haiku
for
Eric McHenry
Dennis
Etzel Jr.
I asked him to see
a poem there, but, instead,he found three tacos.
[
Kevin Rabas co-directs the creative writing program at
Emporia State University and edits Flint Hills Review. He has three books:
Bird's Horn, Lisa's Flying Electric Piano, a KS Notable Book and Nelson Poetry
Book Award winner, and Spider Face: stories. And forthcoming from Coal City
Review Press in March, Sonny Kenner's Red Guitar (poems).
Wednesday, March 20, 2013
Documentative Poetry
People who know me well know I can become too camera-happy, taking several pictures to make sure I get one good photo. With technology, I can even record using my camera while anyone in my "film" are unaware that I am recording.
It's a matter of preservation. In this last year, I've realized how important libraries are for keeping archives, books, etc. Not to say I was ignorant, but I am at a time in my life, in whatever poetry is becoming, where the old guard is leaving and the next generation is entering.
Also, I have photos of my "growing up," but a lot of it lost.
In short, documenting is a part of saying, "These poets said this on facebook."
It also finds its own place in my work.
It's a matter of preservation. In this last year, I've realized how important libraries are for keeping archives, books, etc. Not to say I was ignorant, but I am at a time in my life, in whatever poetry is becoming, where the old guard is leaving and the next generation is entering.
Also, I have photos of my "growing up," but a lot of it lost.
In short, documenting is a part of saying, "These poets said this on facebook."
It also finds its own place in my work.
Saturday, March 16, 2013
For Katie
These are only suggestions:
First, save one file with all of the notes you took.
[
Use that file for a second file, shaping a pedagogical-themed essay.
I like what this says: How to Write a Paper on Pedagogy
This could have a long introduction, including what AWP, the importance of it in creative writing, your subjective perceptions, etc.,
Also, the leadups to the notes, with elaboration-analysis of what was at each panel.
Not only could you include your analysis on how you could construct lesson plans, but you could be innovative for one of these topics (from the above link):
"The first involves new or innovative conceptualization of issues related to planning education (e.g.,
I like the ideas of diversity, assessment, etc.
[
Then include the lesson plans. :)
[
Please let me know if you would like to meet.
First, save one file with all of the notes you took.
[
Use that file for a second file, shaping a pedagogical-themed essay.
I like what this says: How to Write a Paper on Pedagogy
This could have a long introduction, including what AWP, the importance of it in creative writing, your subjective perceptions, etc.,
Also, the leadups to the notes, with elaboration-analysis of what was at each panel.
Not only could you include your analysis on how you could construct lesson plans, but you could be innovative for one of these topics (from the above link):
"The first involves new or innovative conceptualization of issues related to planning education (e.g.,
faculty and student diversity, planning schools assessment, student recruitment and advising).
The second provides assessments of the state of planning instruction and curricula regarding
specific topics (e.g., teaching of environmental planning, addressing global megatrends). Such
assessments can rely on survey research and quantitative methods, but robust qualitative analysis
also can yield fresh insights. The third type offers accounts of specific courses or teaching
innovations. Recently such innovations have included the use of new technology (e.g.,
multimedia, simulation, and virtual space) and new learning practices (e.g., work-based or
experiential learning, distance learning, and international education and exchange)."I like the ideas of diversity, assessment, etc.
[
Then include the lesson plans. :)
[
Please let me know if you would like to meet.
For Elizabeth
These are only suggestions:
In the Essaying the Essay panel, the panel spoke of how the essay "form talks about itself," how it is "self-referential. self-reflexive, and meditative."
Your essay should take on this attributes, maybe in the last revision? Or while crafting?
[
First, I recommend typing out your notes. Save this in one file.
[
Second file: Shape the notes into descriptions of panels, what was the gist.
Add you reactions, contemplations, emotions.
Add descriptions of the bookfair, of the people there. Try to balance the external with the internal.
What happens at AWP?
What doesn't happen? What fails?
Exhaustion, time. What is AWP for others?
From the "Post-Memoir Memoir" panel: Use high and low speech.
Save this.
[
Third file: Go back to your notes, and take note on the different suggestions for writing.
Try different techniques to revise. Keep a "Notes" page which describes the technique you try.
For example: pg. 3: I wrote an imagined scene at AWP, as I learned in the panel "Essaying the Essay."
[
Allow yourself the chance to be nonlinear, nonchronological.
[
From the "Essaying the Essay" panel:
An essay can have wit, mischief, and is contrary to seeing things.
Intuition and instinct to sustain an idea of curiosity. To evade one's self to get to an alive thing.
A balance of an open encounter with an awareness of shape.
[
Feel free to include fragments, snippets of experiences, etc. Like when you tried to listen to the Waywiser Press reading while "the game" was on upstairs. Or going to another reading at a bar and being turned away. Maybe this is as much of the AWP experience? (I know there were moments of letdown for me, as there always is when attending something intense.)
[
I hope this helps, Elizabeth! We can also meet at any time.
My personal suggestion: Start small. Then revise with play!
In the Essaying the Essay panel, the panel spoke of how the essay "form talks about itself," how it is "self-referential. self-reflexive, and meditative."
Your essay should take on this attributes, maybe in the last revision? Or while crafting?
[
First, I recommend typing out your notes. Save this in one file.
[
Second file: Shape the notes into descriptions of panels, what was the gist.
Add you reactions, contemplations, emotions.
Add descriptions of the bookfair, of the people there. Try to balance the external with the internal.
What happens at AWP?
What doesn't happen? What fails?
Exhaustion, time. What is AWP for others?
From the "Post-Memoir Memoir" panel: Use high and low speech.
Save this.
[
Third file: Go back to your notes, and take note on the different suggestions for writing.
Try different techniques to revise. Keep a "Notes" page which describes the technique you try.
For example: pg. 3: I wrote an imagined scene at AWP, as I learned in the panel "Essaying the Essay."
[
Allow yourself the chance to be nonlinear, nonchronological.
[
From the "Essaying the Essay" panel:
An essay can have wit, mischief, and is contrary to seeing things.
Intuition and instinct to sustain an idea of curiosity. To evade one's self to get to an alive thing.
A balance of an open encounter with an awareness of shape.
[
Feel free to include fragments, snippets of experiences, etc. Like when you tried to listen to the Waywiser Press reading while "the game" was on upstairs. Or going to another reading at a bar and being turned away. Maybe this is as much of the AWP experience? (I know there were moments of letdown for me, as there always is when attending something intense.)
[
I hope this helps, Elizabeth! We can also meet at any time.
My personal suggestion: Start small. Then revise with play!
Sunday, January 6, 2013
AWP 2013 Boston
Wed, March 6, 2013
Arrive in Boston at 1ish pm.
Go to hotel. Check in.
From hotel, go one block up Hereford, turn a left at Newbury St--in between Hereford and Mass.
338 Newbury Street
Arrive in Boston at 1ish pm.
Go to hotel. Check in.
12:00 noon to 7:00 p.m.
Exhibit Hall C, Level 2. W100. Conference Registration. Attendees who have registered in advance may pick up their registration materials in the preregistered check-in area, located in Exhibit Hall C on Level 2 of the Hynes Convention Center. If you have not yet registered for the conference, visit the unpaid registration area, also in Exhibit Hall C. Please consult the bookfair map in the conference planner for location details. Students must present a valid student ID to check in or register at our student rate. Seniors must present a valid ID to register at our senior rate, and should do so only at unpaid registration. A $50 fee will be charged for all replacement badges
From hotel, go one block up Hereford, turn a left at Newbury St--in between Hereford and Mass.
338 Newbury Street
6:00 p.m.-9:00 p.m.
Gold Wake Press Reading
Location: Trident Booksellers Cafe
Cost: $0
This year Gold Wake is hosting an off-site reading at AWP Boston in 2013! Come over to Trident Books (3-5 min walking from the event center), and hear a slew of terrific authors from Gold Wake Press including Erin Elizabeth Smith, Andrea Witzke Slot, Nick Courtright, Kathleen Rooney, Donora Hillard, Kristina Marie Darling, Joshua Young, T.A. Noonan, Sarah E. Colona, Anne Champion, Brian Mihok, Jeannie Hoag, Kyle McCord.
8:30ish
Walk over to Boston Mariott Copley Place hotel to meet Becca.
8:30ish
Walk over to Boston Mariott Copley Place hotel to meet Becca.
Boston Marriott Copley Place
110 Huntington Ave
Boston, MA 02116
[
Thu, March 7, 2013
9:00 a.m. to 10:15 a.m.
Room 206, Level 2 R117. Writing Masculinities. (Samuel Ace, Thomas McBee, Brandon Shimoda, Farid Matuk, Rickey Laurentiis) This panel will offer a cross-genre/cross-sexuality/cross-gendered reading, with discussion to follow, about the interweave of the (other than) masculine in one’s work by writers who use “he” but put the “he” in question. Panelists will read from work that reimagines the landscape of the masculine, directly or obliquely, through a dense exploration of subject matter and language, while raising important questions about how masculinity is defined and what it represents.
[
10:30 a.m. to 11:45 a.m.
Room 310, Level 3 R154. Poetry Reading for Troubling the Line: Trans and Genderqueer Poetry and Poetics. (Tim Trace Peterson, TC Tolbert, Max Wolf Valerio, Dawn Lundy Martin, Trish Salah) This reading will feature poets reading their work from Troubling the Line: Trans and Genderqueer Poetry and Poetics (published by Nightboat Books/Eoagh, Spring 2013). The reading will be followed by a discussion about how issues of trans and genderqueer embodiment and identification influence writing, as well as each author’s personal understanding of the relationship between identity and the body of the poem.
[
12:00 noon to 1:15 p.m.
Room 312, Level 3 R184. Prose and Verse Consubstantial: The New Mixed Form. (Peter Streckfus, Joshua Marie Wilkinson, C.D. Wright, Carole Maso, Julie Carr) Prose is our culture’s default for narrative. Writing organized by the poetic line is our default for lyric expression. This panel presents writers who, in lieu of erasing the boundaries between the paragraph and the line, alternate both forms in the same work. Authors will read from their own mixed-form work and discuss precedents from the rich history of the mixed form, ranging from Zukofsky’s “A” to Basho’s Narrow Road. How can mixed form serve the poet? The novelist?
[
1:15 on
Bookfair
[[
1:15 on
Bookfair
4:30 p.m. to 5:45 p.m.
Meet with mentee Katie, Cal, and other Washburn folks.
Room 200, Level 3 R255. Thoreau’s Granddaughters: Women Writing the Wild. (Suzanne Roberts, Cheryl Strayed, Pam Houston, Gretchen Legler, Li Miao Lovett) Do women approach writing both the wildness of the land and the wilderness of their own bodies differently from men? Do women have a uniquely feminine vision of what it means to be wild? Are they judged by a different set of aesthetics? These five women panelists, including memoirists, novelists, and poets, will discuss their literary influences, the joys and challenges, and the internal doubts and external criticism they face in writing the wild.
[
8:00 p.m.
East / West Reading
Location: Bell In Hand Tavern, 45-55 Union Street, Boston, Massachusetts
Cost: Free
East Coast writers match off against West Coast: Pam Houston, Deb Olin Unferth, Joseph Salvatore, Matthew Vollmer, Scott Cheshire, Christopher Kennedy, David Hollander, Kim Chinquee, Sam Ligon, Lily Hoang, Carmen Gimenez-Smith, Robert Lopez, Aurelie Sheehan.
[
[
[
Fri, March 8, 2013
Pack a lunch! or not
9:00 a.m. to 10:15 a.m.
Room 111Please join 1913 for our 10 year anniversary & celebration of 100 years of 1913.
Ring in the morn with mimosas (yes!) & radical readings/performances/awakenings by:
-Jane Lewty
-Charles Bernstein
-The Black Took Collective: Duriel Harris, Dawn Lundy Martin, Ronaldo Wilson
Room 200, Level 2 F142. Essaying the Essay. (David Lazar, Phillip Lopate, David Shields, Lia Purpura, Reda Bensmaïa) This panel will speak to the essentially self-reflective nature of the essay: the ways essays have, historically, insistently talked about themselves. All the panelists have work in the newly released anthology Essaying the Essay, from Welcome Table Press, which presents essays on the essay from Montaigne to the present; they will read portions of their work and reflect/revise ways their views of the essay have modified over time.
[12:00 noon to 1:15 p.m.
Lunch or
Room 210, Level 2 F180. The Urge Toward Memoir. (Elisabeth Schmitz, Jill Kneerim, Michael Thomas, Jeanette Winterson, Lily King) Novelists Jeanette Winterson, Emily Raboteau, Michael Thomas, agent Jill Kneerim, and editor Elisabeth Schmitz discuss the writer’s urge toward memoir. What defines memoir and is it any more “true” or less creative a process than fiction? Panelists will talk about a favorite memoir and the forms they invented for their own.
[
1:30 p.m. to 2:45 p.m.
Room 101, Plaza Level F190. Options of the I: The Post-Memoir Memoir. (Alex Lemon, Lia Purpura, Brian Christian, Nin Andrews) AGNI marks its 40th birthday with an exploration of personal writing in the age of the complexified I. Panelists will consider issues of obliquity, fragmentation, collage, and counterpoint, truth-telling, personae, tonal ventriloquism, and other approaches that conduce to projecting new configurations of the contemplative and narrative self. Moderated by Sven Birkerts.
[| Zachary Schomburg | Friday, 2:00 p.m., Black Ocean signing |
3:00 p.m. to 4:15 p.m
Room 109, Plaza Level F228. The Arcadia Project: Writing the Postmodern Pastoral. (Joshua Corey, Brenda Iijima, Dan Beachy-Quick, Jennifer Moxley, Jonathan Skinner) The Arcadia Project: North American Postmodern Pastoral is a groundbreaking new anthology from Ahsahta Press of contemporary poems that interrogate, refurbish, and upend the American pastoral tradition of Emerson and Thoreau. Four poets represented in the book discuss their work and explore the relevance of the ancient genre of idealized nature poetry to a world increasingly dominated by the discourse of disaster and environmental crisis [
4:15pm
Meet Ben at Beecher's table.
Pick up everyone.
[Meet Ben at Beecher's table.
Pick up everyone.
[
[
Sat, March 9, 2013
Find a way to print boarding passes.
9:00 a.m. to 10:15 a.m.
Meet with mentee Katie.
Room 202, Level 2 S115. Teaching Mutt Lit: Genre-Benders, Hybrids, and Other Weirdness in the Creative Writing Classroom. (Ruth Ellen Kocher, Jeanine Deibel, blake nemec, Vanessa Villarreal, Kelsie Hahn) This panel will explore nontraditional and hybrid literary forms as a means of developing craft, generating voice, and discovering a broader palette of reading and writing interests. Members will present approaches to teaching a variety of forms, including flash fiction, prose poetry, mixed-media, online and interactive text, and lyric essay, in addition to multi-genre work. We will also address resistance to unconventional structures and how to overcome these challenges in the classroom.
[
10:30 a.m. to 11:45 a.m.
Room 201, Level 2 S139. Feminism Meets Neo-Benshi: Movietelling Talks Back. (Sarah Rosenthal, Tracie Morris, Jennifer Firestone, Paolo Javier, Anne Waldman) Neo-benshi, also called movietelling, meets contemporary feminism in this panel where poets co-opt popular film and subvert its plots and purposes for their own. The panelists have rewritten film scripts to critique and respond to current social issues. Panelists will perform these short pieces, which explore Neo-benshi’s potential for feminist dialogue and collaboration as well as its capacity to talk back, as it were, to society at large.
[
12:00 noon to 1:15 p.m.
Room 210, Level 2 S173. Wesleyan Poetry Series Reading. (Stephanie Elliott, Rae Armantrout, Kazim Ali, Annie Finch, Jena Osman) Readings from the newest titles in the Wesleyan Poetry series. Rae Armantrout’s Just Saying continues her standard of inventive, tightly written verse. Spells: New and Collected Poems represents Annie Finch’s technical mastery and her illuminating response to the world. Kazim Ali’s carefully crafted Icarus is an ethereal meditation on the human spirit. Jena Osman’s Public Figures employs a hybrid form of poetry, prose, and found text to explore memory and remembrance in American culture.
[
1:30 p.m. Meet Susan M. at Bookfair table
Go to B&B
[
2:45 and on--everything open
Go to Grolier
http://grolierpoetrybookshop.org/
open until 6pm
Go from Grolier to The Event II
[
6:00 p.m.-9:00 p.m.
The Event IILocation: The Burren, 247 Elm Street, Somerville, MA (Davis Square) - Accessible by subway on the Red Line (2 stops after Harvard)
Cost: Donation
Poets from the following presses will be reading: Highway 101, Furniture Press Books, Parlor, La Alameda, Apogee, Lunar Chandelier, Flim Forum, Fact-Simile, Stockport Flats, Instance/EtherDome, Propolis Press and Innisfree Poetry Bookstore & Cafe. Readers: Elizabeth Savage, Melanie Noel, Kimberly Lyons, Andrew Schelling, Pattie McCarthy, Melanie Noel, Belinda Kremer, Matthew Klane, Adam Golaski, Jennifer Atkinson, Christopher Kondrich, Ethel Rackin. Elizabeth Robinson, Brian Teare, Travis Cebula, Deborah Poe, Lynn Behrendt, and Joe Elliot.
[
March 10, 2013Clock forward one hour.
Leave hotel at 1:30pm
Subway/shuttle to arrive at airport 2:10pm
Leave 3:45pm
Arrive 8:05pm
Sun Mar 10
|
749
|
Depart BOSTON MA (BOS) at 3:45 PM
Arrive in NASHVILLE TN (BNA) at 5:30 PM
|
2772
|
Change planes in NASHVILLE TN (BNA) at 6:30 PM
Arrive in KANSAS CITY INTL (MCI) at 8:05 PM
Travel Time 5 hrs 20 mins
| |
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