Sunday, December 7, 2008

The University of Florida Center for Latin American Studies is pleased to announce the Garifuna Language Summer Institute to be offered in La Ceiba, Honduras from May 10 – June 19, 2009.

The Garifuna Summer Institute provides a unique opportunity for undergraduate and graduate students to acquire proficiency in Garifuna, an endangered Afro-Indigenous and Caribbean language. This six-week intensive immersion course will familiarize students with modern Garifuna language and culture through classroom study and excursions to local sites. Students will take 6 credits of Beginning Garifuna (LAS 4956) and 3 credits of Garifuna Culture (LAS 4956/LAS 6938). The Institute is a FLAS-approved program.

The undergraduate program fee is $2766 and the graduate program fee is $3432. The program fee includes tuition, course materials, lodging, lunches during the week, international health insurance with emergency medical assistance, and group excursions. Round-trip airfare, most meals, personal travel, and personal expenses are not included.

The application deadline is March 16, 2009. Non-UF students are encouraged to apply. Additional program details, as well as information on how to apply online, can be found at:

Sunday, November 30, 2008

fun syllabus by Lisa Jarnot (check out her poems)

Pattern Poetry
Spring 2009

Suggested Readings:

An Anthology of Concrete Poetry. Ed. Emmett Williams, Something Else Press, 1967.

Pattern Poetry. Ed. Dick Higgins.

Concrete Poetry: A World View. Ed. Mary Ellen Solt.

Jan 18 Phonetic Patterns: transcribe one of your poems using International Phonetic Alphabet, color code the patterns and create a visual work out of the result (a painting, rug, sweater, etc. Read excerpts of Mary Carruthers The Craft of Thought: Meditation, Rhetoric, and the Making of Images, 400-1200.

Jan 25 Simple Scaffolds: Acrostics, Telestics, and Mesostics.

Feb 1 Early Western Pattern Poetry: Greek and English Eggs and Altars, including George Herbert’s The Temple. Assignment: Compose a poem sequence that is a house or a sanctuary.

Feb 8 Viewing Day: Visit to the Metropolitan Museum: Egyptian Hieroglyphs, Cuneiform, Islamic Rugs. Make your own language. Take the pattern of a Persian rug and use it as the formula for a poem. Suggested reading: The Chinese Written Character as a Medium for Poetry by Ernest Fenollosa.

Feb 15 Eastern Pattern Poetry: the Wife-of-a-Chinese-Court-Official-Composes-a-40,000-Direction-Invective-Poem. Write a pattern poem/maze that can be read in multiple directions. (See also Raymond Queneau's “One Hundred Thousand Billion Sonnets”).

Feb 22 Rebuses, magic spells, and lapidary inscriptions. Read excerpts of the Greek Anthology.

Mar 1 Mathematical Poems: An Overview of Oulipo. The 20 Consonant Poem.

Mar 8 Musical Patterns: The Cancrizan. Compose a cancrizan and perform it w/ voice and/or instruments.

Mar 15 Ian Hamilton Finlay’s Poor. Old. Tired. Horse., Little Sparta.

Mar 22 Works by B. P Nichol, Hannah Wiener, Ward Tietz, and Bill Luoma’s Swoon Rocket and other poems.

Tuesday, October 21, 2008

The Oregon Literary Review

is currently accepting fiction for its "Genre" section in the following genres: Space Opera, Western, Adventure, Fantasy. Based on our last call for entries, we're looking for stories that are of the genres, but also have depth that goes beyond the perceived limitations of genre fiction. Stories should be self-contained and 10,000 words or less. Send all submissions to (replace (at) with @) with "Genre Submission" in the subject line. Word .doc files are preferred, but stories may be pasted into emails as well.

We encourage writers to submit artwork or graphics along with their stories! The Oregon Literary Review is published online and on CD-Rom every six months.

We accept fiction, screenpalys, stage plays, audio, poetry, photography, essays, and more. For more information, visit

Wednesday, October 15, 2008

10/31: Eric Gregory Awards

Entries must be received by this date
Highly recommended free contest offers prizes totaling 24,000 pounds for a collection of up to 30 poems, drama-poems or belles-lettres, by a writer who will be under age 30 as of March 31 of the following year. The author must be a British subject by birth but not a national of Eire or any of the British Dominions or Colonies, and must ordinarily be resident in the United Kingdom or Northern Ireland. Previously published work accepted.

Wednesday, October 8, 2008

“Faux Histories”

Specs is a jo
Call For Submissions--Specs

“Faux Histories”

Specs is a journal of contemporary culture and arts at Rollins College that aims to create sympathetic interfaces between artistic and critical practices.

The editors invite submissions of critical and/or creative work for the 2nd volume on the theme of “Faux Histories.” We seek works of fiction, non-fiction, cultural criticism, artwork, poetry, and pieces that blur genre boundaries. The editorial board consists of writers and academics from various fields. The editors are excited by specialty, an excess of detail, fragments, narratives, meta-narratives, and more. The editors are particularly interested in works that examine contemporary culture and/or cross the critical/creative divide while riffing on the theme of “Faux Histories” in multiple ways, including:

- Manipulated Histories/Deep Time
- Synthetic Encounters /Textures/String Theories
- Apocryphal Technologies and Topographies
- End of History
- Planned Communities/Theme Parks
- Virtual Worlds/Mythical Creatures/Cyberculture
- Retrofuturism/Revisonary History/Counter Memories
- Transgenderisms
- Body Transformations/Plastic Surgery
- Transhumanism/Cyborgs/Posthumanism
- 2nd Life/Massive Multiplayer Online Role Playing Games (MMORPGs)/Video Games
- Adaptations/Hollywood/Celluloid Worlds
- False Memories/Déjà vu/Ersatz Affects

Deadline for submissions: December 15, 2008.

Please send all submissions in an .rft or .doc file in Times New Roman Font to Include a brief cover letter and indicate whether you wish to be considered for the print edition, the web edition, or both. Please also indicate the type/genre of submission in the subject heading (Poetry, Cultural Criticism, etc.).

Please limit prose submissions to less than 6000 words and poetry submissions to 10-12 pages.

Critical prose pieces will be peer reviewed. We accept simultaneous submission of creative work if indicated on the cover letter. Please inform us immediately if work is accepted elsewhere.

For further guidelines visit our website at

Vidhu Aggarwal

Monday, October 6, 2008

October 7 @ 7pm

The Orlando Poetry Group presents:
1st Tuesdays @
The Daily Grind
807 N. Orange Ave
Orlando, Fl 32801
407 839-4009

Brad Kuhn &
Darlyn Finch

A special evening with Darlyn and Brad
Followed by an open Mic, where YOU shine

Hosted By Russ Golata 407-403-5814

Brad Kuhn is not only a wonderful poet and writer himself but he is driving force behind Kerouac House.If you are not familiar with The writers in residence project:
The Jack Kerouac Writers in Residence Project of Orlando, Inc. is working to further Kerouac's legacy in Orlando, where he was living when On the Road was published.

Darlyn Finch is a Florida native, born and raised in Jacksonville. She attended Ed White high school before obtaining her Associate of Arts degree at Florida Junior College. She holds a bachelors degree as an English major, Writing minor from Rollins College in Winter Park. Darlyn is currently pursuing a Master of Fine Arts in Creative Nonfiction/Poetry from Spalding University in Louisville, Kentucky. She is also responsible for Sunscibbles--the heatbeat newsletter of Central Florida. Where would we all be without it.

Monday, July 14, 2008

job / credit @ cal

Recruiting Student Teachers for June Jordan's Poetry for the People

The Poetry for the People Program (P4P) at UC Berkeley, founded by the
late poet/essayist June Jordan, is in its seventeenth year. June Jordan
founded the program with a vision of artistic and personal empowerment for

Our an annual large class is offered in the Spring semester. The program
has two main components:

1.teaching the work of poets of color in their historical political
contexts, both in and outside the US

2.workshopping student poems weekly, according to a rigorous set of
guidelines developed by June, herself.

The course is taught by Student Teacher Poets or STPs. This group is
generally made up mostly of undergraduates, but has often included some
graduates, graduate students and non-students. The majority of STPs
have taken the large P4P class, but others begin with an interest in
teaching and go directly to the STP class. The STPs take a practicum
class that begins in the Fall and continues throughout the year.

In addition to leading or co-leading a section of 7-12 students in the
Spring, the STPs are responsible for choosing the majority of the
readings for the large Spring class, developing the bulk of the
lectures, and coordinating the final student recital, editing an
anthology, and doing outreach visits to schools and community centers
throughout the year. STPs also workshop each other's poetry.

The director facilitates the STP group throughout the year, and
supervises their work, and the program coordinator takes care of program
logistics. The director also sets the tone of the large class, delivers
several lectures, and supports the STPs in their teaching and

The political and aesthetic groundings of the course come from June
Jordan's own work--reflecting the tradition of women writers of color
needing to bear witness to oppression, to speak what has been silenced,
to speak truth to power, and to offer alternative visions of what the
world can be. In this tradition, the personal is political, students
are encouraged to give voice in their poetry to the most painful and
difficult places in their lives, and to speak about the most difficult
challenges in the world around us.

Due to the personally, politically, and academically intense nature of
the course, the experience of P4P is powerful for all, and can be
consuming for some, particularly younger students who are finding their
poetic voice for the first time. Among the STP group, every year is
different, depending on the personalities involved, but there is a
tradition of healthy (and sometimes unhealthy!) conflict, as the group
of STPs endeavor to take political and artistic leadership in the
course. STPs have the opportunity for profound personal growth as they
confront the power dynamics, leadership challenges and significant
responsibilities of teaching.

P4P director Aya de Leon is recruiting additional STPs. These
individuals may be undergraduate or graduate students at other campuses,
or anyone with a strong commitment to writing and teaching poetry.

The STP course meets Tuesdays and Thursdays from 4-6PM throughout the
year, and the P4P "big class" meets from 3-7PM in the Spring. STPs need
to be available for all three classes, for registered students, this is
a 12-unit load over two semesters.

The STP course meets Tuesdays and Thursdays from 4-6PM throughout the
year, and the P4P "big class" meets from 3-7PM in the Spring. STPs need
to be available for all three classes, plus homework and occasional
outside meetings. For registered students, this is a 12-unit load over
two semesters.

These positions are not paid, but we can offer college credit to everyone.

How to get college credit for these classes:

*enroll via UC Berkeley in the courses (both undergraduate & grad programs)

*cross register from Mills College (both undergraduate & MFA)

*enroll via Berkeley City College (open to all & affordable!)

*enroll via UCB extension (open to all; a bit more costly)

*Student teach as an independent study at your college or university (grad
or undergrad)

*Student teach as an independent study or field study placement with your
low residency MFA program

All are invited to apply!

For info contact P4P Director Aya de Leon: adeleon@berkeley. edu

P4P Program History

After a decade of teaching at the university level and after a few years
of joining the faculty at UC Berkeley, Professor June Jordan, one of the
most published African American writers in history, founded, designed,
cultivated and directed an unprecedented academic course and artistic
movement: Poetry for the People.

Professor Jordan wrote, however, that "I did not wake up one morning
ablaze with a coherent vision of Poetry for the People! The natural
intermingling of my ideas and my observations as an educator, a poet, and
the African-American daughter of poorly documented immigrants did not lead
me to any limiting ideological perspectives or resolve. Poetry for the
People is the arduous and happy outcome of practical, day-by-day,
classroom failure and success."

In 1989, June Jordan began teaching in the African American Studies and
Women's Studies Departments. She soon undertook the presentation of
African American Poetry and Contemporary Women's Poetry. With both
courses, she ensured that student writings occupied equal space and time,
along with established poets, such as James Weldon Johnson or Adrienne
Eventually, she decided to offer something called "Poetry for the People."
So she raised funds from the African American Studies Department, the Dean
of Interdisciplinary Studies, and the Department of English.

Her dream and vision was realized in 1991 when Professor Jordan officially
established Poetry for the People. During its first semester, and every
semester thereafter, the course attracted students from Freshmen to
graduate students in their last year at Boalt Law School, men, women,
African Americans, Asian Americans, Latino Americans, Arab Americans,
Anglo Americans, gay, lesbian, straight, abled, disabled who could take
this course in poetry without any prior writing experience.

June Jordan crafted Poetry for the People with three guiding principles in

1.That students will not take themselves seriously unless we who teach
them, honor and respect them in every practical way that we can.

2.That words can change the world and save our lives.

3.That poetry is the highest art and the most exacting service devoted to
our most serious, and our most imaginative, deployment of verbs and nouns
on behalf of whatever and whoever we cherish.

Professor Jordan's vision for the reading and writing of poetry stands out
from other university poetry courses. In an interview with the Daily
Californian on November 19, 1998, Professor Jordan stated that the goal of
Poetry for the People "is to make audible the inaudible, and visible the

Then, after the success of the third semester of the program, a core of
young poets wanted to make P4P a way of life. As a result, Professor
Jordan decided to try and institute a course called "The Teaching and
Writing of Poetry." Interested students would work closely with her and
then they, in turn, would become teachers of other students. This practice
continues today as undergraduates and graduate students are trained by the
director to facilitate groups, lecture on various topics, and assume
positions of leadership.

African American Studies 158A (fall) and 158B (spring) serve as this
teaching practicum for STPs in the process of preparing to student teach
the main introductory spring class, African American Studies 156AC, known
as "The Big Class." The students in these courses conduct extensive
research into the poetic traditions under consideration for the Big Class.
Each student is required to give an in-class presentation on an assigned
poetic tradition, in addition to an intensive examination of pedagogical
issues. Much of the time in the spring is spent discussing teaching
strategies, exploring solutions to pedagogical issues, and coordinating
projects. The STPs also form and facilitate a poetry-writing group under
the Director's leadership and complete all the assignments the students in
the general class are given, in addition to certain specific exercises in
poetic craftsmanship. This group of STPs also provides personnel for the
various outreach programs and is encouraged to perform at community events
and readings in the Bay Area.

The success of P4P is evidenced by the dozens of poetry programs across
the country that are led by former P4P students and whose designs are
based on the program. In 1995, after Professor Jordan and several of her
students published June Jordan's Poetry for the People: A Revolutionary
Blueprint through Routledge Press, hundreds of organizations throughout
the country have adopted this blueprint not only as a reference but a
guiding principle in their own poetry workshops and programs. Moreover,
numerous former P4P students have been anthologized, published, and
celebrated with prizes.

Thus, from its humble beginnings of around 15-20 students in 1991, to its
height of over 130 student enrollment, the once-tenuous experiment of
Poetry for the People has emerged a cultural institution on the UC
Berkeley campus that has engendered dialogue and created connections
across every conceivable line.

Professor Jordan has said, "Poetry has been falsely viewed as a province
for privileged folks and for the extremely gifted. [But] poetry derives
from an oral tradition throughout the world. It comes from the people and
needs to be given back to the people."

Today, Poetry for the People is a fully accredited, three course sequence
of classes wherein students present their work in an on-campus public
poetry reading every semester and self-produce and then publish a
professional anthology of their poems. In keeping with the university's
goal of public education, Professor June Jordan expanded this program to
many different Bay Area locations: Berkeley High School, Dublin Women's
Prison, Glide Memorial Church, Mission Cultural Center, and Yerba Buena
Center for the Arts.

Every poetry reading she helped organize was a standing room only affair —
in mammoth campus spaces such as the Life Valley Science Building Lecture
Halls, Lewis Hall, and Wheeler Auditorium.

In 2001, Professor June Jordan went on leave. However, given the student
demand for the course and the popularity of the program, she was asked to
name a successor. Selected by Professor Jordan, Junichi P. Semitsu
directed the program until 2005. In 2005-06 P4P alum, Maiana Minahal was
director. In fall 2006, the African American Studies department appointed
community artist and activist Aya de Leon as director, and her appointment
continues into its third year.

Aya de Leon continues in Jordan's tradition of reaching beyond university
walls, developing programming at Berkeley High, B-Tech (Berkeley High's
alternative/ continuation school), Oakland Unified, Berkeley City College,
Epic Arts, La Pena Cultural Center, and Richmond's Leadership Public
School, as well as reaching out to Mills College, SF State, Foothill
College, and other Bay Area schools to recruit students.

The Program has continued to bring countless "hot shot poets" to campus
for readings to P4P students and the general public: Adrienne Rich,
Ntozake Shange, Jimmy Santiago Baca, Joy Harjo, Sandra Cisneros, Juan
Felipe Herrera, Bei Dao, Janice Mirikitani, Ruth Forman (a former P4P
student), Marilyn Chin, Haas Mroue, Martin Espada, Cornelius Eady, Lorna
Dee Cervantes, E. Ethelbert Miller, Sekou Sundiata, Kevin Young, Dennis
Kim, Leroy Quintana, Li-Young Lee, Naomi Shihab Nye, Francisco Alarcon,
Sara Miles, Donna Masini, Luis Rodriguez, Tyehimba Jess, Mohja Khaf — to
name a few.

The current ever-evolving syllabus continues to extend to new cultural
areas for further, broadening research and eventual curricular inclusion.
Designed to constitute a one-semester crash course of world literacy in
poems, the syllabus typically focuses on three distinct American cultures,
which often rotate year after year. Our Spring 2008 semester focused on
the poetry of African Americans, Arab and Arab Americans, Latina/os,
Xicana/os, and the intersecting trajectories of these three groups in the
United States and the Americas.

Professor Jordan passed away in June 2002. Thanks to her vision and the
commitments of the African American Studies Department, UC Berkeley's
Dean's office, and the sustained efforts of subsequent directors and
student teachers to continue her legacy, the African American Studies
156AC course remains strong and alive. Indeed, the class continues to
build a legacy as one of the most visible, vibrant, and energetic
communities on the Berkeley campus, in continuing Dr. Martin Luther King's
wish of a beloved community.

Aya de Leon
Director, June Jordan's Poetry for the People
African American Studies Department
UC Berkeley

Monday, July 7, 2008


Call for Submissions: Collective Fallout

Collective Fallout is a literary magazine dedicated to queer-themed sci-fi, fantasy, horror, and mystery fiction and poetry. It will be a print journal published 2 or 3 times a year. The Collective Fallout blog is where readers will find reviews, interviews, and other editorial content, and is where readers are encouraged to comment on and reply to the forthcoming print journal.

We welcome submissions for our premier issue.

Submit content for the print magazine electronically to collectivefallout(at) (replace (at) with @)

Please attach files in DOC, RTF, or PDF formats.
Short Story submissions must be queer-related, and fall into one or more of the the science fiction, fantasy, horror, or mystery genres. Stories may not be longer than 10,000 words.
Poetry submissions must be queer-related, both form and free verse, and of a surreal, metaphysical, or similar nature. Up to 5 poems per submission, no more than 450 total lines.
Simultaneous submissions accepted.
Collective Fallout will print one full-color image per issue as its cover. Digital image submissions should be submitted via email as an attachment with a minimum 300dpi resolution.
Contributors will receive one contributor copy of the magazine.
Collective Fallout acquires and retains First North American Serial Rights.

Friday, July 4, 2008

a local anthology looking for work

Deadline: Midnight, August 1, 2008.

FloriDaDa is seeking submissions to represent the current state of poetry in, and inspired by, Florida. We're seeking unusual or experimental poetry related to this subject.
We hope to publish FloriDaDa with Rock Press as a book-length paperback in the fall of 2008. Funds are quite limited for this project, so a waiver of permission fees would be appreciated. We intend for this to be the first volume in an occasional series of collections that will give respected poets a chance to lead the way for writers and readers involved with Florida as a creative crucible.
There will be four categories for submissions:
1. Natives (poets actually born here)
2. Transplants (poets who moved here)
3. Passing Through (visitors or people who once lived here who have written poetry about Florida)
4. Snow Bards (part-time residents)
Send up to 5 poems in a single word document to
Put your name and email address on every piece.
In the subject heading of the email, state the category you are submitting to, which means either Native, Transplant, Passing Through, or Snow Bards
In the body of the email, include a bio of no more than 100 words.
Please also sign the attached document and send it to:
Richard Ryal, P.O. Box 770925, Coral Springs, FL 33077-0925
In signing the attached document, you warrant that you are the sole owner of the rights granted and that your material does not infringe upon the copyrights or other rights of anyone. If you do not control these rights, we ask that you submit another piece to which you possess sole rights.

Laura McDermott and Richard Ryal
co-editors FloriDaDa Rock Press, Fall 2008

Wednesday, May 14, 2008

low res

The University of New Orleans summer programs in San Miguel, Mexico and Brunnenburg, Italy, still have openings.

Please check out the website:

I'll be teaching the poetry workshop in San Miguel.

If you have questions, please contact:

Jennifer Stewart
Study Abroad Programs in Writing
University of New Orleans
New Orleans, LA 70148

Tuesday, May 6, 2008

Saturday, May 3, 2008

Open Submissions for The Versus Anthology

Versus is a collection of works based on the theme of pitting
iconic characters or forces against one another (for example,
“Jesus VS Thor” or “Adolph Hitler VS Grendel”). Versus is edited
by Josh Woods and is set for release in the spring of 2009 by
Press 53 ( ). Versus already includes a great
host of writers, such as Pinckney Benedict, Michael Kimball,
Margaret McMullan, John McNally, Kyle Minor, Andrew Scott, Curtis
Smith, Susan Woodring, and many others, but we have held a few
spots open in order to give everyone interested the opportunity
to join this anthology, so here is that opportunity.

We’re looking mostly for short fiction of around 1,000-1,500
words, but Versus is open to longer works as well as poetry,
creative non-fiction, short screenplays, flash fiction, graphic
novel pages, and even hybrid genres. Submissions can be
previously published elsewhere as long as the writer has, or can
obtain, (re)publication rights. Simultaneous and multiple
submissions are allowed, but due to the volume of submissions, we
will be unable to communicate about individual manuscripts other
than to indicate that they are accepted or rejected. We will not
respond prior to the submission deadline.

The deadline for all submissions is June 1, 2008.

Please send submissions by email attachment in Microsoft Word
compatible format or as Adobe PDF to versusanthology(at)

(replace (at) with @)

or submit by mail with SASE to:

Versus Anthology
Faner Hall 2390, MC 4503
SIU Carbondale
1000 Faner Hall
Carbondale, IL 62901

Cover letter is optional, but please include your name and email
address on each page of the manuscript. For these few remaining
spots in Versus, we are setting our focus on new, emerging, and
innovative writers. For further details on what a Versus piece
is, or even for the option of getting assigned a set of
characters for your Versus piece, please visit

Friday, May 2, 2008

Fairy Tale Review is accepting submissions to its fifth issue, The Aquamarine Issue, from
April 15 through September 15, 2008. We welcome all previously unpublished fiction,
poetry, drama, non-fiction, etcetera, informed by the fairy-tale tradition.

Past contributors include Sarah Hannah (to whom our most recent issue, The Violet Issue is
dedicated), Aimee Bender, Donna Tartt, Mary Caponegro, Rikki Ducornet, Joyelle
McSweeney, Lydia Millet, Kim Addonizio, Lucy Corin, and Kiki Smith.

Please see our submission guidelinesfor
more details.

Thursday, May 1, 2008

On Monday, May 5th, 2008 at the Medicine Show Theater on 52nd Street, NYC, Factory School requests your presence for a pre-Publication Book Party for Charles Bernstein and Ben Yarmolinsky's Blind Witness: Three American Operas, due out in August.

For more information about this event, please click here:

For more information about Blind Witness, and to pre-order a copy, please click here:


If you are unable to attend Monday's event, we hope you will join us online for an important announcement regarding the future of Factory School and its work in the community. We are planning a significant relaunch of our organization, its purpose and orientation. This change will be visible on our website on Monday, May 5th, when we will unveil a 2.0 upgrade to our site. To this end, we are seeking collaborators, projects, and support for our work.

Since 2000, Factory School has sponsored online galleries, an audio archive of poetry readings, as well as resources for teachers and teachers of writing--all this in addition to our books. Hundreds of thousands of visitors have made use of these materials. Since our books are our only source of income, we are pleading with the community to help us continue our work by purchasing one or more of our books. These purchases will allow us to continue to publish books while continuing to expand our organizational infrastructure.

While we will be making a more significant announcement on Monday, May 5th, here is a preview of what our priorities will be in the coming years:


--Free University of New York Press: a new academic press without the university.
--Publication Club: social networking site allows younger writers to meet each other and develop editorial identity, social and real capital.
--Series based publishing: Developing projects for extant book series (Heretical Texts, PS3577, Public Intermedia, Southpaw Culture).
--Working collaboratively not as aesthetic judges, seeking alternatives to the social-subcultural engine that drives micro communities of taste.
--Development of books for use in courses, not the other way around.


--"Community Handbook" resource development project: teaching materials, student-generated learning modules.
--Textbook recycling program.
--Reclaiming for public use educational content pilfered from the public domain by private corporations.


--Community-based problem solving and future planning.
--Design studio and workshop.
--Curriculum and learning program development.
--Organizational feedback strategies, research methods and practice.


--Interactive websites for all new Factory School books.
--Beginning research and planning phases for independent urban college.
--Think tank and policy-paper laboratory to counter-act regressive trends in American politics and culture.


Please click on the link below to order a book or make a donation using Paypal. If you would rather send us money, please send an email to INFO "@" FACTORYSCHOOL ORG to make arrangements.

Wednesday, April 30, 2008

Interfictions II submission guidelines
from Delia Sherman & Christopher Barzak, editors:

What We’re Looking For

Interstitial Fiction is all about breaking rules,
ignoring boundaries, cross-pollinating the fields
of literature. It’s about working between,
across, through, and at the edges and borders of
literary genres, including fiction and
non-fiction. It falls between the cracks of other
movements, terms, and definitions. If you have a
story idea that’s impossible to describe in a
couple of sentences, it may be interstitial.

We’re looking for previously unpublished stories
that engage us and make us think about literature
in new ways. Rather than defining “interstitial”
for you, we’d like you to show us what
genre-bending fiction looks like. Surprise us;
make us see that literature holds possibilities
we haven't yet imagined.

We are also open to graphic stories of about 10

Who We Are Looking For

Writers in all genres of fiction (contemporary
realism, mystery, historical, fantasy, whatever)
who have an idea that challenges generic tropes
and expectations. If you're not sure whether a
story is interstitial, send it along anyway.

Practical Matters

Our submission period will be from October 1,
2008 to December 2, 2008. Please submit
electronically only. Send your stories to:
interfictions(at) (replace (at)with @).

You will hear from us after January, 2009.

Overseas submissions are welcome. Stories
previously published in other languages may be
submitted in English translation for first
English language publication.

Please follow standard manuscript formatting and
submission conventions: ie, double-spaced, with
1” margins, and the name of the story on each
page. No simultaneous or multiple submissions.
Word count is open, but the ideal range is
4,000-10,000 words. Payment will be 5 cents a
word for non-exclusive world anthology rights, on
publication, along with 2 author’s copies.

Any questions? Write us at interfictions(at) (replace (at) with @).

Wednesday, April 23, 2008

Online Journal Seeks Current Events Poetry

THE NEW VERSE NEWS covers the news and public affairs with poems on issues, large and small, international and local. It relies on the submission of poems (especially those of a politically progressive bent) by writers from all over the world.

The editors update the website every day or two with the best work received.

See the website at for guidelines and for examples of the kinds of poems THE NEW VERSE NEWS publishes. Then paste your submission and a brief bio in the text of an email (no attachments, please) to editor(at) (replace (at) with @). Write "Verse News Submission" in the subject line of your email.

Works Cited
Abbey, Edward. Desert Solitaire : A Season in the Wilderness. 1st Touchstone ed. New York: Simon & Schuster, 1990.
---. The Monkey Wrench Gang. 1st ed. Philadelphia: Lippincott, 1975.
Abe, Kobo. The Box Man. Uniform Title: Hakootoko. English. 1st American ed. ed. New York, Knopf: distributed by Random House, 1974.
Achebe, Chinua. Things Fall Apart. 1st Anchor Books ed. New York: Anchor Books, 1994.
Adams, Douglas. The Hitchhiker's Guide to the Galaxy. 1st American ed. New York: Harmony Books, 1980.
Adams, Richard. Watership Down. New York: Macmillan, 1974.
Adorno, Theodor W. Minima Moralia; Reflections from Damaged Life. Uniform Title: Minima Moralia. English. London: New Left Books, 1974.
Alexie, Sherman. The Absolutely True Diary of a Part-Time Indian. 1st ed. New York: Little, Brown, 2007.
---. The Lone Ranger and Tonto Fistfight in Heaven. 1st HarperPerennial ed. New York: HarperPerennial, 1994.
Angelou, Maya. I Know Why the Caged Bird Sings. New York: Random House, 1970.
Anthony, Piers. A Spell for Chameleon. 1st ed. New York: Ballantine Books, 1977.
Atwood, Margaret. The Handmaide's Tale. 1. Aufl., 1. Dr ed. Berlin: Cornelsen, 2005.
Auel, Jean M. The Clan of the Cave Bear : A Novel. Large print ed. Thorndike, Me: Thorndike Press, 1983.
Austen, Jane. Pride and Prejudice. New York: Modern Library, 1995.
Avrich, Paul, and Paul Avrich Collection (Library of Congress). Sacco and Vanzetti : The Anarchist Background. Princeton, N.J: Princeton University Press, 1991.
Baldacci, David. Simple Genius. New York: Warner Books, 2007.
Barker, Clive. The Thief of always : A Fable. 1st ed. New York: HarperCollins, 1992.
Beckett, Samuel. Waiting for Godot; Tragicomedy in 2 Acts, Uniform Title: En Attendant Godot. English. New York: Grove Press, 1954.
Boyle, T. Coraghessan. East is East. New York: Viking, 1990.
---. The Tortilla Curtain. New York: Viking, 1995.
Bradbury, Ray. Fahrenheit 451. Book Club ed. ed. New York: Simon and Schuster, 1967.
---. The Martian Chronicles. Garden City, N.Y: Doubleday, 1958.
---. Something Wicked this Way Comes, a Novel. New York: Simon and Schuster, 1962.
Brite, Poppy Z. Lost Souls. New York, N.Y: Delacorte Press, 1992.
Brown, Dan. The Da Vinci Code : A Novel. 1st ed. New York: Doubleday, 2003.
Bulgakov, Mikhail Afanas’evich. The Master and Margarita Uniform Title: Master i Margarita. English. 1st U.S. ed. ed. New York: Harper & Row, 1967.
Burian, Al. Burn Collector : Collected Stories from One through Nine. Atlanta, GA: Stickfigure, 2000.
Butler, Octavia E. Fledgling : Novel. 1st ed. New York: Seven Stories Press, 2005.
Calderón de la Barca,Pedro, et al. La Vida Es Sueño. La Vie Est Un Songe. La Cena Del Rey Baltasar. Le Festin De Balthazar. El Gran Teatro Del Mundo. Le Grand Théatre Du Monde. Paris: Klincksieck, 1957.
Calvino, Italo. Invisible Cities. Uniform Title: Città Invisibili. English. 1st ed. ed. New York: Harcourt Brace Jovanovich, 1974.
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Card, Orson Scott. Ender's Game. Rev. ed. New York: Tor, 1991.
Carroll, Lewis, and Helen Oxenbury. Alice's Adventures in Wonderland. 1st U.S. ed. Cambridge, Mass: Candlewick Press, 1999.
Cather, Willa. My Ántonia. Boston: New York,; Houghton Mifflin Co, 1918.
Chabon, Michael. The Amazing Adventures of Kavalier and Clay : A Novel. New York: Random House, 2000.
Chevalier, Tracy. Girl with a Pearl Earring. New York: Dutton, 1999.
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Coelho, Paulo. The Alchemist. 1st ed. San Francisco: HarperSanFrancisco, 1993.
Condé, Maryse, and Richard Philcox. Crossing the Mangrove. 1st Anchor Books ed. New York: Anchor Books/Doubleday, 1995.
Cooke, Darwyn, Dave Stewart, and Jared K. Fletcher. DC : The New Frontier. Vol. One. New York: DC Comics, 2004.
de Lautréamont, comte. Oeuvres Complètes : Les Chants De Maldoror : Poésies : Lettres. Paris: Librairie J. Corti, 1963.
de Montaigue, Michel. Essays of Michael Seigneur De Montaigne. in Three Books. with Marginal Notes and Quotations of the Cited Authors. and an Account of the Author's Life. London: Printed for T. Basset at the George in Fleet-Street, and M. Gilliflower and W. Hensman in Westminster-hall, 1685.
de Saint-Exupéry, Antoine, and Barbara Valdez. The Little Prince. Logan, Iowa: Perfection Form Co, 1987.
Dennett, Daniel Clement. Consciousness Explained. 1st ed. Boston: Little, Brown and Co, 1991.
Diamant, Anita. The Red Tent. Rockland, Mass.: Compass Press, 2000.
Diamond, Jared M. Collapse : How Societies Choose to Fail Or Succeed. New York: Viking, 2005.
Dick, Philip K. The Three Stigmata of Palmer Eldritch. 1st Vintage Books ed. New York: Vintage Books, 1991.
Dickens, Charles, Hablot Knight Browne, and Frederick Barnard. A Tale of Two Cities. New York: Dodd, Mead & Co, 1942.
Dickens, Charles. Great Expectations. New York: Dodd, Mead, 1942.
Dickinson, Janice. No Lifeguard on Duty : The Accidental Life of the World's First Supermodel. 1st ed. New York: ReganBooks, 2002.
Dostoyevsky, Fyodor. The Brothers Karamazov. 1996 Modern Library ed. New York: Modern Library, 1996.
---. The Idiot. New York: Modern Library, 1962.
Douglas, Lloyd C. The Robe. Boston: Houghton Mifflin Co, 1942.
Dumas, Alexandre. The Count of Monte Cristo. New York: Modern Library, 1996.
Dunn, Katherine. Geek Love. New York: Knopf : Distributed by Random House, 1989.
Eliot, T. S. Four Quartets. New York: Harcourt, Brace and Co, 1943.
Eliot, T. S. Prufrock and Other Observations. London: The Egoist, 1917.
Ellis, Warren. The Authority : Relentless. La Jolla, CA: WildStorm/DC Comics, 2000.
Eugenides, Jeffrey. Middlesex. 1st ed. New York: Farrar, Straus, Giroux, 2002.
Faber, Michel. The Crimson Petal and the White. 1st U.S. ed. New York: Harcourt, 2002.
---. Under the Skin. 1st ed. New York: Harcourt, 2000.
Fadiman, Anne. The Spirit Catches You and You Fall Down : A Hmong Child, Her American Doctors, and the Collision of Two Cultures. 1st ed. New York: Farrar, Straus, and Giroux, 1997.
Fitzgerald, F. Scott. The Great Gatsby. 1st Scribner Paperback Fiction ed. New York: Scribner Paperback Fiction, 1995.
---. This Side of Paradise. New York: C. Scribner's Sons, 1948.
Follett, Ken. The Pillars of the Earth. New American Library deluxe ed. New York: New American Library, 2007.
Frost, Robert, et al. Complete Poems of Robert Frost, 1949. Uniform Title: Poems. New York: Henry Holt, 1949.
Fuentes, Sonia Pressman. Eat First--You Don't Know what they'Ll Give You : The Adventures of an Immigrant Family and their Feminist Daughter. Philadelphia, PA: Xlibris, 1999.
García Márquez, Gabriel. Love in the Time of Cholera. 1st American ed. New York: Alfred A. Knopf, 1988.
---. One Hundred Years of Solitude. Uniform Title: Cien Años De Soledad. English. 1st ed. ed. New York: Harper & Row, 1970.
Ghosh, Amitav. The Hungry Tide. Boston: Houghton Mifflin, 2005.
Gordimer, Nadine. The Pickup. 1st ed. New York: Farrar, Straus, and Giroux, 2001.
Gregory, Philippa. The Boleyn Inheritance. New York: Simon & Schuster, 2006.
Guest, Judith. Ordinary People. New York: Penguin Books, 1982.
Haggard, H. Rider. Marie. London: Macdonald, 1959.
Hawthorne, Nathaniel. The Scarlett Letter. Collector's ed. New York: Pocket Books, 1950.
Haydon, Elizabeth. The Symphony of Ages. New York: Tor, 2004.
Heinlein, Robert A. The Moon is a Harsh Mistress. New York: Putnam, 1966.
---. Stranger in a Strange Land. New York: Putnam, 1961.
Hemingway, Ernest. The Dangerous Summer. 1st Touchstone ed. New York: Simon & Schuster, 1997.
---. The Old Man and the Sea. New York: Scribner, 1952.
---. The Sun also Rises. New York: Scribner, 1954.
Herbert, Frank. Dune. 1st ed. ed. Philadelphia: Chilton Books, 1965.
Hesse, Hermann. The Glass Bead Game (Magister Ludi). Uniform Title: Glasperlenspiel. English. 1st ed. ed. New York: Holt, Rinehart and Winston, 1969.
---. Sidharta. ed. México: Compañía General de Ediciones, 1977.
Hiaasen, Carl. Hoot. 1st ed. New York: Alfred A. Knopf :; Distributed by Random House, 2002.
Hosseini, Khal. The Kite Runner [by] Khaled Hosseini :. Westlake, OH: Center for Learning, 2007.
Hurston, Zora Neale. Their Eyes were Watching God : A Novel. 1st Perennial Library ed. New York: Perennial Library, 1990.
Huxley, Aldous. Brave New World. New York: London, Harper & Bros, 1946.
Irving, John. The Cider House Rules : A Novel. 1st trade ed. New York: Morrow, 1985.
Juster, Norton, and Jules Feiffer. The Phantom Tollbooth. New York: Epstein & Carroll; distributed by Random House, 1961.
Kafka, Franz. The Trial. Uniform Title: Prozess. English. Definitive ed. New York: Schocken Books, 1968.
Kidder, Tracy. Home Town. 1st ed. New York: Random House, 1999.
King James. Bible.
King, Stephen. The Shining. 1st ed. Garden City, N.Y: Doubleday, 1977.
Kingsolver, Barbara. The Poisonwood Bible. Thorndike, Me: G.K. Hall, 1999.
Knowles, John, Alan C. Coman, and éD. A Seperate Peace. Agincourt: Book society of Canada, 1966.
Langton, Jane. Emily Dickinson is Dead. 1st Linford ed. Leicester England: Linford, 1992.
Larson, Erik. The Devil in the White City : Murder, Magic, and Madness at the Fair that Changed America. Waterville, Me: Thorndike Press, 2003.
Lee, Harper. To Kill a Mockingbird. 1st ed. Philadelphia: Lippincott, 1960.
Lee, Tanith. Biting the Sun. New York: Bantam Books, 1999.
L'Engle, Madeleine. A Wrinkle in Time. New York: Ariel Books, 1962.
Lewis, C. S., and Pauline Baynes. The Lion, the Witch and the Wardrobe; a Story for Children. New York: Macmillan, 1950.
London, Jack. The Call of the Wild. New York: Macmillan, 1963.
Lowry, Lois. The Giver. Boston: Houghton Mifflin, 1993.
Machado de Assis, and John Gledson. Dom Casmurro : A Novel. New York: Oxford University Press, 1997.
Marsden, John. Tomorrow, when the War Began. 1st American ed. Boston: Houghton Mifflin, 1995.
Martel, Yann. Life of Pi : A Novel. lst U.S. ed. New York: Harcourt, 2001.
Martin, William. Back Bay. New York: Crown, 1979.
---. Cape Cod. 1st paperback ed. New York, N.Y: Warner Books, 1992.
McCafferty, Megan. Sloppy Firsts : A Novel. 1st ed. New York: Crown Publishers, 2001.
McCullers, Carson. The Heart is a Lonely Hunter. Boston: Houghton Mifflin Co, 1940.
McKinley, Robin. Sunshine. 1st ed. New York: Berkley Books, 2003.
Michener, James A. Hawaii. New York: Random House, 1959.
---. The Source. London: Secker & Warburg, 1976.
Millman, Dan. Way of the Peaceful Warrior : A Book that Changes Lives. 1st pbk. ed. Tiburon, Calif; Emeryville, CA: H.J. Kramer, Inc; Distributed by Publisher's Group West, 1984.
Mistry, Rohinton. A Fine Balance : A Novel. 1st U.S. ed. New York: Knopf : Distributed by Random House, 1996.
Moore, Alan, and Dave Gibbons. Watchmen. Book club ed. New York: DC Comics Inc, 1987.
Morrison, Toni. Beloved : A Novel. 1st ed. New York: Knopf :; Distributed by Random House, 1987.
---. The Bluest Eye. New York: Plume Book, 1994.
Nabokov, Vladimir Vladimirovich. Lolita. New York: Putnam, 1958.
Naylor, Gloria. The Women of Brewster Place. New York: Penguin Books, 1983.
Niffenegger, Audrey. The Time Traveller's Wife. Large print ed. Projected Date: 200505 ed. Bath: Paragon, 2005.
Orwell, George. 1984. San Diego: Harcourt Brace Jovanovich, 1984.
Palahniuk, Chuck. Haunted : A Novel of Stories. 1st ed. New York: Doubleday, 2005.
---. Invisible Monsters. New York: W.W. Norton, 1999.
Pears, Iain. The Dream of Scipio. New York: Riverhead Books, 2002.
Percy, Walker. The Moviegoer. 1st ed. ed. New York: Knopf, 1961.
Potok, Chaim. The Chosen; a Novel. New York: Simon and Schuster, 1967.
Pratchett, Terry, Neil Gaiman, and Peter Lindforss. Goda Omen. 1. hft. uppl ed. Stockholm: B. Wahlström, Scandbook), 2005.
Pratchett, Terry. The Wee Free Men. 1st ed. New York, N.Y: HarperCollins Pub, 2003.
Proust, Marcel, et al. In Search of Lost Time. Rev. / by D.J. Enright ed. New York: Modern Library, 1992.
Pullman, Philip. His Dark Materials. New York: Alfred A. Knopf, 2007.
Pyle, Howard, and Jo Polseno. The Merry Adventures of Robin Hood. New York: Grosset & Dunlap, 1965.
Pynchon, Thomas. Gravity's Rainbow. New York: Viking Press, 1973.
Quinn, Daniel. Ishmael : A Novel. New York: Bantam/Turner Book, 1992.
Rand, Ayn. The Fountainhead. Indianapolis: New York, Bobbs-Merrill Co, 1943.
Rawlings, Marjorie Kinnan. Cross Creek. New York: C. Scribner's Sons, 1942.
Rice, Anne. The Queen of the Damned. 1st ed. New York: Knopf :; Distributed by Random House, 1988.
Rimbaud, Arthur, et al. Une Saison En Enfer = A Season in Hell ; Les Illuminations. New York: Oxford University Press, 1974.
Robbins, Tom. Even Cowgirls Get the Blues. Bantam trade ed. New York: Bantam Books, 1990.
Romans, John R., Percival Thomas Ziegler, and Meat we eat. The Meat we Eat. 11th ed. Danville, Ill: Interstate Printers & Publishers, 1977.
Rowling, J. K., and Mary GrandPré. Harry Potter and the Deathly Hallows. 1st ed. New York, NY: Arthur A. Levine Books, 2007.
---. Harry Potter and the Goblet of Fire. 1st American ed. New York: Arthur A. Levine Books, 2000.
Roy, Arundhati. The God of Small Things. New York: Random House, 1997.
Salinger, J. D. The Catcher in the Rye. 1st ed. ed. Boston: Little, Brown, 1951.
Schlosser, Eric. Fast Food Nation : The Dark Side of the all-American Meal. Boston: Houghton Mifflin, 2001.
Seuss, Dr. Green Eggs and Ham. New York: Beginner Books; distributed by Random House, 1960.
Shakespeare, William, and Mas`ud Farzad. Hamlet. Tehran, Iran: B.T.N.K, 1978.
Shelley, Mary Wollstonecraft. Frankenstein. London: Bloomsbury, Projected Date: 200608, 2006.
Shreve, Anita. A Wedding in December : A Novel. 1st ed. New York: Little, Brown, 2005.
Simak, Clifford D. City. Clifford D. Simak Centennial ed. Baltimore, MD: Old Earth Books, 2004.
Smiley, Jane. A Thousand Acres. 1st ed. New York: Knopf :; Distributed by Random House, 1991.
Smith, Patrick D. A Land Remembered. Englewood, Fla: Pineapple Press, 1984.
Steinbeck, John. The Grapes of Wrath. New York: Viking Press, 1939.
---. Of Mice and Men. New York: Penguin Books, 1993.
---. The Pastures of Heaven. New York: Penguin Books, 1995.
Stine, R. L. It Came from Beneath the Sink!. New York: Scholastic Inc, 2003.
Stoker, Bram, and Tudor Humphries. Dracula. 1st American ed. New York: DK Pub, 1997.
Stone, Irving. The Agony and the Ecstasy, a Novel of Michelangelo. 1st ed. ed. Garden City, N.Y: Doubleday, 1961.
Stowe, Harriet Beecher. Uncle Tom's Cabin, Or, Life among the Lowly ; the Minister's Wooing ; Oldtown Folks. New York: Literary Classics of the United States : Distributed by the Viking Press, 1982.
Streatfeild, Noel, and Richard Floethe. Ballet Shoes;. New York: Random House, 1937.
Taschen America, Inc. Art Now 2008 Diary. Taschen America Llc:, 2007.
Tolkien, J. R. R. The Lord of the Rings. 2d ed. Boston: Houghton Mifflin, 1967.
Tolstoy, Leo, Louise Shanks Maude, and Aylmer Maude. War and Peace. New York: Simon and Schuster, 1942.
Toole, John Kennedy. A Confederacy of Dunces. 20th anniversary ed. Baton Rouge: Louisiana State University Press, 2000.
Tsukiyama, Gail. Women of the Silk. 1st ed. New York: St. Martin's Press, 1991.
Twain, Mark. Adventures of Huckleberry Finn. 1st ed. New York: Random House, 1996.
---. The Adventures of Tom Sawyer. Pleasantville, N.Y: Reader's Digest Association, 1985.
Updike, John. Rabbit, Run. 1st ed. ed. New York: Knopf, 1960.
Uris, Leon. Trinity. 1st ed. Garden City, N.Y: Doubleday, 1976.
Vance, Jack. Cugel's Saga. New York: Timescape Books : Distributed by Simon and Schuster, 1983.
von Goethe, Johann Wolfgang. The Sorrows of Young Werther, and Novella. Uniform Title: Werther. English. 1st ed. ed. New York: Random House, 1971.
Vonnegut, Kurt. Breakfast of Champions; Or, Goodbye Blue Monday!. New York: Delacorte Press, 1973.
---. Mother Night. New York: Delacorte Press, 1966.
---. The Sirens of Titan. New York, N.Y: Delta Trade Paperbacks, 1998.
---. Slaughterhouse-Five. New York: Delacorte Press, 1969.
Walker, Alice. The Color Purple : A Novel. 1st ed. New York: Harcourt Brace Jovanovich, 1982.
Warren, Robert Penn. All the King's Men. 1st ed. New York: Harcourt, Brace, 1946.
Wharton, Edith. The Age of Innocence. New York: Scribner, 1968.
White, Randy Wayne. The Man Who Invented Florida. 1st ed. New York: St. Martin's Press, 1993.
Whitman, Walt, Christopher Morley, and Lewis Daniel. Leaves of Grass;. New York: Doubleday, Doran & Co, 1940.
Wilder, Laura Ingalls, and Garth Williams. Little House in the Big Woods;. Newly illustrated, uniform ed. New York: Harper, 1953.
Willett, Jincy. Jenny and the Jaws of Life : Short Stories. 1st ed. New York: St. Martin's Press, 1987.
Woolf, Virginia. Mrs. Dalloway. New York: Harcourt, Brace and Co, 1925.
Wouk, Herman. Don't Stop the Carnival. Back Bay pbk. ed., with new introduction ed. Boston: Little, Brown and Co, 1999.
---. The Hope : A Novel. 1st ed. Boston: Little, Brown, 1993.
X, Malcolm, and Alex Haley. The Autobiography of Malcolm X. New York: Grove Press, 1965.

Sunday, April 20, 2008

My Paper, My Land
A postcard show will be held to coincide with the IAPMA Congress in
Burnie, Tasmania. Works should reflect where you come from and contain
at least 80% paper. The size should be around 10 x 15 cm and works
should be sent through the mail, preferably with a postage stamp and
postmark to Gail Stiffe, 11 Keltie Street Glen Iris, Victoria 3146,
The works will be exhibited in Creative Paper's Gallery for one month
including the congress time and will be for sale for $A20 each
unframed. The funds raised will be shared equally between Papermakers
of Victoria, Creative Paper, the IAPMA support fund and the Papermaking
Village in the Philippines and unsold works will remain the property of
Creative Paper Tasmania. All works will be documented on a website to
be announced. Works can be sent any time between now and 1 March 2009,
there is no limit to the number of entries anyone can send. Please
indicate on your card if you do NOT wish it to be displayed on the
website. Contact for more information.

Tuesday, April 15, 2008

The Writing Resource Center is beginning our yearly hiring process for new SWAs. Applications are available in the WRC and are due by 5 pm on Monday, April 28. I'm writing to ask that you inform your students of this opportunity. If there are any students you feel would be particularly good additions to the WRC staff, please personally encourage them to apply.

We have a unique challenge/opportunity in our hiring for next year, as five of our current SWAs are graduating in May and another will be leaving after next fall. That means that we need to hire at least five new SWAs. With so many openings, we want to do everything possible to have a high number of qualified applicants to choose from. This need also gives us a great opportunity to hire a group of SWAs with diverse backgrounds. With that in mind, we'd like to have quality applicants from each of the divisions. So, again, if you know anyone who seems like a particularly good candidate, please encourage them to apply. Thank you.
Natasha Trethewey will read and discuss her work April 17th 7:00 p.m. at Traditions
Hall on the University of South Florida Tampa campus. The 2007
Pulitzer Prize winner accepted the award for her third poetry collection, Native Guard, published in 2006. It contains her poems about black Union soldiers
who guarded a fort off the coast of Mississippi during the U. S.
Civil War.

Her first work, Domestic Work, was selected by Rita Dove to receive
the inaugural 1999 Cave
Canem poetry prize for the best first book by an African
American poet and also received the 2001 Lillian Smith Award for
Poetry and the Mississippi Institute of Arts and Letters Book Prize.
Her second work, Bellocq’s Ophelia (2002) received the 2003
Mississippi Institute of Arts and Letters Book Prize. She is the
recipient of the prestigious Bunting fellowship from the Radcliffe
Institute for Advanced Study at Harvard University.

Born in Gulfport, Mississippi, Trethewey holds a B.A. in English from the University of Georgia, an M.A. in English and Creative Writing from Hollins
University, and an M.F. A. in poetry from the University of
Massachusetts. She is the Phillis Wheatley Distinguished Chair, and
professor of poetry at Emory University

This event is sponsored by the USF Humanities Institute, the departments of English
and Women’s Studies, and USF Women in Leadership and Philanthropy.

Sunday, April 13, 2008

After Lettrism: A review of contemporary acts of Poetry
Serial on podcast
Xavier Leton de Producer

Ph Bootz & Julien Blaine's working testimony
As Poet
As publisher.

On the site "", I present to you an electronic route
the electronic and poetic reviews.
Mostly in french

[!!attention phrase en Franglish et/ou poétique!!]
"I realized this route together with Philippe Bootz, with Julien
Blaine and/or Christian Poitevin, of Cecile Capponi, Solea,
Marseille noisy, of his sputtering inhabitants, grains of sand
under feet and under teeth."

This route consists of testimonies, creations videos, of sound
creations. I invite you to discover them, to share them in wills of
"rss", "podacst" and MailingLists and lists of which you think
interested in this subject.

Do not forget to leave your comments & your propositions.

During december, I shall suggest you following me to Corsica
(Ajaccio) where I shall go to accost in December on Doc(K)s

Xavier Leton

|_++ 33 [+]4 91 42 52 57
|_++ 33 [+]6 86 72 70 15

two sets of poetry exercises

in addition to Mayer's

by Daisy Freid:

Writing suggestion for your poem of the day, one per day.
1. Write a ten-line poem in which each line is a lie.
2. Write a poem that tells a story in 18 lines or less, and includes at
least four proper nouns.

3. Write a poem that uses any of the senses EXCEPT SIGHT as its
predominant imagery.

4. Write a poem inspired by a newspaper article you read this week.

5. Write a poem without adjectives.

6. Ask your roommate/neighbor/lover/friend/mother/anyone for a subject
(as wild as they want to make it) for a ten-minute poem. Now write a poem
about that subject in ten minutes; make it have a beginning, a middle and
an end.
7. Write the worst poem you possibly can. Now edit it and make it even

8. Poem subject: A wind blows something down. Or else it doesn't. Write
it in ten minutes.

9. Write a poem with each line, or at least many of the lines, filling in
the blanks of "I used to________, but now I_________."

11. Write a poem consisting entirely of things you'd like to say, but
never would, to a parent, lover, sibling, child, teacher, roommate, best
friend, mayor, president, corporate CEO, etc.

12. Write a poem that uses as a starting point a conversation you

13. First line of today's poem: "This is not a poem, but..."

14. Write a poem in the form of either a letter or a speech which uses at
least six of the following words: horses, "no, duh," adolescent, autumn
leaves, necklace, lamb chop, Tikrit, country rock, mother, scamper, zap,
bankrupt. Take no more than 13 minutes to write it.

15. Write a poem which includes a list or lists-shopping list, things to
do, lists of flowers or rocks, lists of colors, inventory lists, lists of
events, lists of names...
16. Poem subject: A person runs where no running is allowed. Write it in
ten minutes.

17. Write a poem in the form of a personal ad.

18. Write a poem made up entirely of questions. Or write a poem made up
entirely of directions.

19. Write a poem about the first time you did something.

20. Write a poem about falling out of love.
21. Make up a secret. Then write a poem about it. Or ask someone to give
you a made-up or real secret, and write a poem about it.

22. Write a poem about a bird you don't know the name of.

23. Write a hate poem.
24. Free-write for, say, 15 minutes, but start with the phrase "In the
kitchen" and every time you get stuck, repeat the phrase "In the
kitchen." Alternatively, use any part of a house you have lots of
associations with-"In the garage," "In the basement," "In the bathroom,"
"In the yard."

25. Write down 5-10 words that sound ugly to you. Use them in a poem.
26. Write a poem in which a motorcycle and a ballerina appear.

27. Write a poem out of the worst part of your character.
28. Write a poem that involves modern technology-voice mail, or instant
messaging, or video games, or...
29. Write a seduction poem in which somebody seduces you.

30. Radically revise a poem you wrote earlier this month.

another list

1. Write a really ugly poem.
2. Quickly pick out 12 words from the titles of books on a nearby bookshelf. Use them in a poem.
3. Write a poem with an invented biography for yourself.
4. Take a 1-2 page poem from a book and re-type it backwardsfrom the very last word in the poem all the way to the very first, keeping the lines the same lengths as they are in the book. Use this as the starting point of a poem, picking out the word formations that are particularly interesting to you.
5. Write from the number six.
6. Write to your pain: "Dear Pad of My Thumb, Will you kindly stop hurting? It is very hard for me to stir a pot or write a poem when you hurt like this..."
7. Let your pain write back to you: "Dear Liesl, if you would lay off the text messaging and playing minesweeper it would help me a lot, then you can write your poem or stir a pot..."
8. Write to your hurting country, city or community, as a variation on the theme. Take the dialogue as far as it goes, then distill the essence. See if you can arrive at a fresh insight about what ails you and yours.
9. Wow! You’ve been at this over a week straight! Let your hand draw an abstract shape. Write about it.
10. Speaking as a fortune teller, tell a fortune. The first line is: You will take a strange journey ...... Finish the prediction/forecast by describing the journey and giving instructions or advice or even warnings for the journey.
11. Write a poem of at least 40 lines that is a single sentence.
12. Take fairy tale and rewrite it from the viewpoint of another character. For example, use the wolf to tell the story of Little Red Riding Hood.
13. Write about a family secret.
14. Write an apostrophe to some abstraction (e.g., "To the End of the World" or "To My Birth").
15. Write about someone waiting for something.
16. Write about a color without naming the coloror its kin, e.g., no fair using “crimson” “scarlet” or “ruddy” instead of red.
17. Take any object out of your bag or pocket or purse. Speaking in first person AS THE OBJECT answer the following questions (in any order): What is your favorite thing? What are you scared of? What is your secret? What is your wish for the future?
18. Take someone else's poem and select one word per line, writing them out in a list. Then write your own poem using these words in the same sequence, one per line.
19. Write 100 words (any kind of words) about your kitchen table.
20. Write a poem in which the form contradicts the content.
21. Write a piece at least 50 words long using only one-syllable words.
22. Take a common object, such as a flowerpot, boot or paperclip, and write about it as if you’ve never seen such a thing before (e.g., you’re from the future and have just excavated it, or are from another planet).
23. Take the name of a favorite poet and anagram it. Use this to begin a poem.
24. Pick a word from today’s headlines and write a definition poem for it.
25. Write the poem you cannot write.
26. What Work is For You: Write about a job you have had, whether you loathed it or loved it. Write from your own experience but go beyond the literal! Keep the poem in the present tense, and BE SURE THERE IS A PHYSICAL ACTION INVOLVED such as scrubbing floors, dissecting chickens, helping someone use the toilet. Keep your poem in couplets, tercets, quatrains, or sestetsyour choice.
27. Write a poem in a received form in such a way that the form is concealed.
28. Imagine a drink or food dish that would bring you fully alive. Write the recipe.
29. Begin with, “This is not the last poem I will write…”
30. Elide the Junk: Take a piece of junk mail and black out most of the words so that what remains is a poem.

Saturday, April 12, 2008

Poetic Meetup Featuring:

Orlando Poetry Group presents:
Every Third Wednesday@ Austin’s
Martha Marinara is an associate professor of English at the University of Central Florida where she teaches rhetoric, First-year writing, and creative writing. She currently directs the Information Fluency Program, a university initiative. Marinara has written two textbooks—Writing Outside the Lines (2000) and Choices: A Handbook for Writers (2008), and published articles in College Composition and Communication and The Journal of Basic Writing. She writes and publishes poetry and fiction, and her work has appeared most recently in Massachusetts Review, Xavier Review, FEMSPEC, Estuary, Lesbian Fiction Quarterly, White Pelican Review, and Alembic. In 2000, she won the Central Florida United Arts Award for Poetry. Street Angel, her first published novel, was released in October 2006 and was a finalist for ForeWord Magazine’s Best GLBT Novel Award for 2006.
Wednesday April 16, 8:30pm

Austin’s Coffee and Film
929 W Fairbanks Ave
Winter Park, Florida

The Wonderful Martha Marinara
Followed by an Open Mic

Hosted by Chaz Yorick’s Open Words ,& Russ Golata
For directions or comments e-mail me at
Or phone me at 407-403-5814
Or AUSTIN’S at 407-975-3364

Thursday, April 10, 2008


Just a note that we will not be meeting during BACC days. For those of you who are not "BACCing," I hope you will consider:

-- reading some of the authors I have recommended to you throughout the term, hopefully in a pleasant place with a notebook handy
-- reviewing or otherwise creatively or critically responding to the BACC presentations

sharing the results here, on this blog, or elsewhere!

Wednesday, April 9, 2008

RECONFIGURATIONS: A Journal for Poetics & Poetry / Literature & Culture

Volume 2: Process: Fields of Signification

Submission Deadline: August 1, 2008

Publication Date: November, 2008

Call for Work: Articles, criticism, dialogues, essays, fictions, images,
interviews, manifestos, poems, reviews, statements, translations, vectors
& whatnots.

Guidelines: Volume two of Reconfigurations
seeks innovative works concerning
process--the dynamics of action, exchange, mediation and
transformation--in relationships and communities. In what ways are
relationships either subverted or sustained by the idiosyncrasies of
communication? How and why are the fields of commerce, inquiry and
performance shaped primarily by their experiments and questions rather
than by their commodities and results? What may be discovered by studying
what is often forgotten or overlooked (process: inside-out & outside-in)
during this age of fascination with product? Submissions addressing
matters of process defined broadly and surprisingly are welcomed. In
addition to the themes suggested above, other possibilities might include:
editing, politics, research, teaching, translation, travel, etc.
Reconfigurations invites submissions that engage with those diversified
fields of signification.

Electronic Submissions:

Reconfigurations is an electronic, peer-reviewed, international, annual
journal for poetics and poetry, creative and scholarly writing, innovative
and traditional concerns with literary arts and cultural studies.
Manuscripts accepted for editorial review: April 1 - August 1.
Reconfigurations launches/publishes during the month of November.
Copyright remains with the authors. Reconfigurations is an open-access,
independently managed journal. ISSN forthcoming.

Tuesday, April 8, 2008

Monday, April 7, 2008

Context / Situation

Situationist International Text Library

Guy deBord

Thursday, April 3, 2008

HIGHLY Recommended

Introduction to Non-fiction Publishing featuring John Byram and Amy Gorelick of the University Press of Florida
Wednesday, April 16, 2008
2:00 pm
Cook Hall Conference Room

Amy Gorelick, Senior Acquisitions Editor, and John Byram, Editor-in-Chief, will discuss the basics of getting your work published; submitting a proposal, when to submit a full manuscript, the review process, the production process, marketing and selling works of non-fiction, and things to avoid when working with a publisher. A question and answer period will follow the brief presentation, with an opportunity to meet and discuss your own work in detail with Ms. Gorelick.

The University Press of Florida, established in 1945, is the largest publisher in Florida and the second largest university press in the Southeast.

UPF's mission is to serve all universities in the SUS system: to answer questions, offer advice, and possibly publish your work.

Tuesday, April 1, 2008

Journals in NCF Library (old hardcopies)

to examine, when looking for markets

American Scholar
Virginia Quarterly Review
Yale Review
Paris Review
Southern Review
Sewanee Review
The Nation
Hudson Review
Bottegue Oscure

Monday, March 31, 2008

Form, Princeton Encyclopedia, pps. 420-1.
from CAConrad's interview with Rachel Blau DuPlesses, posted today at Phillysound

"That is--someone less culturally powerful and only sporadically acknowledged, if at all, contributes a significant "something" to the career of someone more culturally powerful. It is the structural inequality, not the act of appropriation, that is particularly problematic for me.

Nonetheless I happen to feel that appropriation is not a crime; it is a cultural situation and a cultural tactic. The issue is not intertextuality (citation, appropriation, reuse, torquing, influence, adaptation, borrowing, refashioning, transmission, imitation); it is the cultural inequality of that tactic that is problematic. The issue isn't that borrowing occurs; the issue is that the work of women (and others) is not acknowledged by the borrowers, and the less hegemonic may not have the power to answer back. "

Friday, March 28, 2008

Oregon Literary Review seeks Genre Submissions

The Oregon Literary Review's "Genre" section is currently looking for science fiction or detective stories for its upcoming Summer/Fall 2008 Issue.
Guidelines are as follows:
Stories should be between 4000-10000 words.
Original illustrations accompanying the stories are accepted.
Preference is given to Pulpy Detective stories and Sci-Fi that veers towards Space Opera. Submissions must be MS Word .doc or .rtf
Submissions should include author's name, a short bio, and email address.

The Oregon Literary Review is an online non-profit. For more information, visit
The Jack Kerouac Writer in Residence Project presents:
The 2008 Central Florida Book & Music Festival
Friday and Saturday, March 28th and 29th

Friday, March 28th, be part of the scene at Uptown Altamonte
Eddie Rose Waterfront Amphitheater at Cranes Roost Park and enjoy a
FREE live concert featuring the David Amram Jazz Quartet, 7:00pm until 9:00pm,
and special guest Ben Alba, author of Inventing Late Night.

Venue Information:
Eddie Rose Waterfront
Amphitheater at Cranes Roost Park
247 Cranes Roost Blvd.
Altamonte Springs, FL 32701

Saturday, March 29th, re-live the NYC of the 1950s with a 12:00, noon, luncheon. Seating begins at 11:00AM and show begins at noon. Admission cost is $30 which includes lunch and play.

Southern Winds Theatre presents: An Evening with Jack Kerouac - End of the Roadwritten by Steve A. Rowell and David A. McElroy. Directed by Marylin McGinnis. Rowell and McElroy bring Kerouac's brilliant, yet tortured life to the stage in this demonstrative one-man show. McElroy, portraying Kerouac takes "the spotlight" that illuminates Jack's life as the road experience it was, and how he only wanted to observe and write those observations.

After the play: A performance commemorating the 1st ever Jazz Poetry
Concert of 1957 by David Amram and Jack Kerouac - re-created by the David
Amram Jazz Quartet.

Venue Information:
Holiday Inn Altamonte Springs
For tickets order online at Southern Winds Theater site or RSVP to this email or just show up at the last minute

For information regarding any of these events contact

For even more information
But Wait There's More!!! UCF Events

Monday the 31st - Library room 511, 2:00 PM
Roundtable about Kerouac and the Beats to be hosted by the Library.
David will read from his book on the Beats and discuss the significance
of the 50th anniversary of Dharma Bums.

Tuesday the 1st - Library room 223, 7:00 PM
Screening of Pull My Daisy, the short film narrated by Jack Kerouac and
scored by David Amram with a short presentation about the making of the
film and a Q/A session.

Thursday the 3rd - Reflection Pond, tentatively scheduled for 7:00 PM
An Evening Affair with music...David would like to use this time to
improvise with music students...also plan to ask Sigma Tau Delta if they
want to read selections of Kerouac's works with David's accompaniment.

Process Discussions Elsewhere

You all know we've had several process disucssions during the term, trying out several things -- asking questions, offering book recommendations, reading someone else's work aloud for them --

here are some ideas about "how to conduct writing workshops" from sources different from me:

"... Francine Prose talks about her method, which involves strictly forbidding all praise *or* blame when discussing works-in-progress. Students are simply not allowed to say what they "like" or don't. The focus is on analysis, talking about what's on the page, picking apart syntax, clarifying pronoun references, looking for parallels in the imagery and metaphors, describing point of view and how it's working, and so forth."

From workshop participants (various sorts of workshops)

"...I like [written comments] because the first sting of criticism can be rethought when the comments are reread later. ... When someone says they don't "get" something, it is based on the work and if more than one person agrees, it is probably a point to be considered."

"My first workshop ran on the "receive silent" mode, speak only when asked a direct question and afterwards, do not defend your poem, only express thanks or ask questions. ... I note every comment that is made on my copy of the poem in workshop, even the comments I found "foolish". You don't know how many times I have gone back to rewrite after a cooling off period, and found those foolish suggestions had some fingerpointing going on to a weakness that needed revising. Which isn't to say that I incorporate every comment.

What I have discovered about this format is that people are unafraid to make comments that might hurt my feelings, because without a defense, they never get to hear that. The 'look here, and see if you can figure out why this makes me uneasy' comments prove useful."

"... workshop is composed of a series of non-sequitors, each student wants to
have her own say & rarely engages with ideas of other students (until, of course, there's silence, & then someone says "i agree with what blah blah said fifteen
minutes ago"). so, we stick to ideas that get placed on the table, we wrestle with those ideas..."

"... a workshop where the student poems are used to teach something specific. An example: Recently ... I had 3 student poems to "workshop" (I have come to loathe this verb), so I looked for something I could focus on-- endings, in this case. I first went over 2 outside poems: Diane Glancy's "Without Title" and Komunyakaa's "Facing It" so as to show that endings can work differently, that it's possible to talk about difference without ranking."

"One of the things we do at the writing class I am involved in is to critique the works anonymously. Each poem or extract is put up on an overhead projector and read by a volunteer. It can often be really helpful for the writer to hear their work read by someone else. The author is not to respond, explain or defend, but simply to listen to the responses."

A number of people participating in this discussion have mentioned the late Wendy Bishop, Floridian author/editor on many books about creative writing and teaching creative writing.

Several have mentioned that they sibstitute in class free write and exercises for participant comments.

The workshop format was pioneered the the beginning of the Iowa Writers Workshop.

Tuesday, March 25, 2008

Dear Colleagues,

Responding to troubled students is not a new topic for creative writing
teachers. By the nature of the craft we teach as creative writing faculty,
we may see, at times, glimpses into the destructive (or self-destructive)
psyches of our students through their stories, poems, and plays.

You may be aware that colleges have seen a sharp increase in students who
arrive with psychological and psychiatric issues. According to the 2006
National College Health Assessment 43.8% of 94,806 students surveyed "felt
so depressed it was difficult to function," during the previous year and
9.3% had "seriously considered suicide" during the year. In addition, in a
landmark study of school shootings, the United States Secret Service
concluded in 2002, that more than one-third of school shooters "exhibited an
interest in violence in their own writings, such as poems, essays, or
journal entries."

While it is true that teachers at any level, and in any subject, might pick
up on troubling signals from a student, it is college teachers in creative
writing for whom the issue is pressing.

The following brief survey (click on the link below) presents an opportunity
for you as a creative writing teacher to respond to the question: The
Troubled Student and Creative Writing: What's a Teacher to Do?

I appreciate your response (responses can be anonymous) regarding this
sensitive but critical subject. Collected responses will be instrumental to
a forthcoming presentation and scholarship on this issue.

Thank you for your time and contribution.


Dianne Donnelly

Department of English

University of South Florida

Tampa, Florida

Monday, March 24, 2008

Helen Adam

I mentioned Helen Adam in workshop last week -- well, here she is!

The Electronic Poetry Center has added a new page on the work of poet
Helen Adam.

Wednesday, March 19, 2008

Market Segments

Different from ... anything we've been talking about thus far ... is market segment.

Young Adult novels
increasingly many "regular" novels are being marketed in the "Young Adult" segment, split out from regular fiction as -- a marketing ploy? censorship?

When I began teaching, I had many adult students ask me for book recommendations for their 12-16 year old children. As soon as I started listing what I thought was great, Frankenstein, Dickens (if not already read), Russian novelists (Doestoevsky, Gogol, Tolstoy, etc.), Salinger, Updike, Saki, etc. it seemed that it dawned on the overly-concerned boomer parent that really anything so long as it was good or not by Bataille, Artaud, whatnot was probably going to be just fine. Apparently, though, this desire was effectively channeled into "the young adult market." Now, with the market maturing, many writers who wrote their novels as, well, just novels, are finding their work resegmented, especially since the agency view seems to be that young men who are 18-24 are not doing anything but watching Will Farrell movies and NASCAR, or perhaps watching Will Farrell movies about NASCAR.

In answer, though, to Kate Weber's query, there are several novelists whose novels are being pushed into young adult, and if one wants to be a novelist and actually sell a novel occasionally, young adult is not a bad place.

The novels from the McSweeneys / Believer group of editors and writers, including Heidi Julavits, are often listed as young adult.

Tod Theilman's novels are listed as Young Adult. Many of Joyce Carol Oates' are. Juliana Baggott.

Since the LA Times Book Awards have a young adult category, I thought I would search there.

· Kate Banks, "Dillon Dillon" (Frances Foster Books/Farrar, Straus and Giroux)
· Sarah Dessen, "This Lullaby" (Viking/Penguin Young Readers Group)
· E.R. Frank, "America" (A Richard Jackson Book/Atheneum Books for Young Readers)
· Joyce Carol Oates, "Big Mouth & Ugly Girl" (HarperTempest/HarperCollins)

M.T. Anderson’s 2006 National Book Award-winner The Astonishing Life of Octavian Nothing, Traitor to the Nation, Volume 1: The Pox Party (Candlewick -- a YA press); John Green’s An Abundance of Katherines (Dutton); Meg Rosoff’s Just in Case (Wendy Lamb); and Nancy Werlin’s National Book Award finalist, The Rules of Survival (Dial)


There are thousands of listings of litary journals, commercial magazines that include creative writing, eZines, etc., including Poets & Writers classifieds (, AWP Chronicle, Writer's, Artist's, Poet's Market, Writer's Digest, etc. etc. But how to use? How to decide?

1) By content.
Identify your subject, and who is likely to be interested in publishing creative writing on that subject. Is it Feminist? Serbian? Formal? Visual? Look for publications which specialize in publishing creative writing on the same theme, or look for publications with special theme issues, or look for publications which publish all sorts of content on a theme who occasionally publish pieces of creative writing on that theme.

2) Write "to" the publication / CFW.
Maybe you don't have anything ready to send, but are seeking some writing prompts. Why not look at what publications are asking for, and attempt to deliver it? For example, here are calls for work for anthologies (generally more prestigious credits than periodical publication) from the most recent classifieds:

(BLANK) BEGINS at conception. Seeking essays for an anthology about female experiences with reproduction. All perspectives welcome: infertility, pregnancy, adoption, abortion, parenthood, deciding to remain child-free, etc. Target audience is anyone looking for a broader perspective on reproductive choices. Send queries and submissions to

THE POWER of the Center, a Wising Up Press anthology. In a time of troubling polarization, we invite submissions on how we have used social centrality to promote inclusion and change. Essays/memoirs personal experience, thoughtful and emotionally evocative. less than 4,000 words. B&W photographs/artwork: less than 5. Deadline: June 1. E-mail to Guidelines:

and another

Say it Loud: Poems about James Brown. Edited by: Mary E. Weems, and Michael Oatman.

We grew up on James Brown’s Hit Me! When he danced every young Black man wanted to move, groove and look like him. Mr. Brown wasn’t called the hardest workingman in show business because he wasn’t. Experiencing a James Brown show was like getting your favourite soul food twice, plus dessert. His songs, like black power fists you could be proud of and move to at the same time. When Mr. Brown sang make it funky we sweated even in the wintertime. Losing him was like losing somebody in our family. This is a shout out for poems about the impact James Brown had on our lives. Poems that will help people remember, honour, and celebrate his legacy. Don’t be left in a cold sweat, send us your old and new James Brown poems today.

Submission Guidelines: 3-5 Unpublished and/or published poems with acknowledgement included. No longer than 73 lines Deadline: April 30, 2008 (Receipt not postmark) Send hard copies along with a Word Document and short bio on a CD to: Dr. Mary E. Weems / Education Department / John Carroll University / 20700 North Park Blvd. / University Hts., Ohio 44118 / Send via e-mail attachment (Word Documents Only) to:, and

3) Track writers: where writers you admire or writers whose style or subject matter may be similar to yours are publishing. Use these publications to track down other writers as well as the publications.
You read a work by a younger contemporary writer you admire. Google the name or do another search to find a bio which lists credits, such as "published in blah, blah magazine, the journal of blah, and the annual best of blah anthology 2007." Then look at blah, blah magazine. Look at the work of the author that they chose. Read any editorial statement (with a grain of salt -- read it alongside what seems to be chosen in practice, and compare it to the statements). Read the other works published in the publication.

Variation: read a book published by a writer you admire, etc. Read other writers published by the press, but also look at the acknowledgements page. Are you familiar with the journals which have published the writer you admire? Look them up.

4) Track publications. If you have the "best genre work year" anthologies, take a look at the list of publications contributing to the anthology. Are you familiar with them? Look at the link list for online journals, especially for journals that keep appearing on list after list. Look at the bios in a publication you admire. Are there are publications that appear in one or more contributor's credits? Look it up!

Thursday, March 13, 2008

Week Seven

Version and Format

Revision is different from version. Lessons from software version control. The police in different voices. Format – utterly different from form. Presentation of content.

It is midterm week. While you have no unusual assignment, it is probably time to begin thinking about your final project.

Wednesday, March 12, 2008

Summer Seminars

David Belew asked that I compile a list of Summer programs in creative writing. These are of two sorts: colonies/conferences and academic programs.

Based on reports of the writing colony experience I have not had, I would recommend programs unless or until winning a fellowship, scholarship, or otherwise subsidized stay at a colony, such as Breadloaf, where hierarchies of paying vs. non-paying writers often develop.

The Poetry Society of America keeps an excellent list of links:


Iowa Summer Writing Festival


Summer Literary Seminars in St. Petersburg, Russia, and in Kenya (don't know if Kenya is the place to be this summer -- though maybe it is? --)

New School for Social Research:

Then there are also continuing education courses in creative writing, such as those at New School for Social Research, Naropa, Columbia University, UCLA Extension. These are year round (not summer only) and occasionally online or for graduate or undergraduate credit:

Boston University has a summer term with creative writing courses.
So does Harvard, however many of these are not workshops led by published writers: google the faculty.

The Kenyon Review has one at Kenyon in Ohio:

Antioch's in Ohio is only a week:

(there are lots of them which are just week-long intensives with lots of exercises, for example Wesleyan (CT), Aspen (CO), etc.)

Tuesday, March 11, 2008

Week Six

Week Six

Genre and Adaptation

In Granger’s:

Genre: The form of a poem in particular relation to its content. The term encompasses not only pastoral and lyric, which are conventional genres, but also apostrophe, dramatic monologue, nocturne, and so on.

Sunday, March 9, 2008

Ruth Lilly Poetry Fellowships

(go to this address to download entry form)

Five Ruth Lilly Poetry Fellowships in the amount of  $15,000 will be awarded to young poets through a national competition sponsored by the Poetry Foundation, publisher of Poetry. Established in 1989 by the Indianapolis philanthropist Ruth Lilly, the fellowships are intended to encourage the further study and writing of poetry. Applicants must be US citizens between the age of twenty-one and thirty-one as of  March 31, 2008.

Applicants should submit:

Completed application form

Ten pages of poems, double spaced

One paragraph explaining how the fellowship would aid the applicant’s work

A publication list (optional)

Do not include any additional material at this time (cv, cover letter, references, etc.). If you wish to be notified of receipt of your application, include a self-addressed, stamped postcard. Application materials will not be returned. Applications must be postmarked during the month of March 2008. Electronic submissions will not be considered. Finalists will be announced on August 1, 2008 at Winners will be announced by September 1, 2008.

Thursday, March 6, 2008

March 18th in Sainer

I'm writing this from the e-mail room in Sudakoff, where I'm about to moderate the Modern Medievalisms panel. I love conferences. Highly recommend that you come over and attend something.

In any case, there's another campus event ALSO related to writing, in a sense, in Sainer March 18 (that's a Tuesday -- THE Tuesday before the next chapbook collective meeting).

Tuesday • Mar 18, 4 pm (note that this conflicts with class; I would prefer you attend class, but... spread the word...)
The Power of Women in Media, Communications & Entertainment

Carol Flint, TV producer (ER) (alumna)
Cathy Guisewite, syndicated cartoonist “Cathy”
Leslie Glass, journalist, playwright, and novelist
Susan Burns (moderator), editor, Biz941 (alumna)

Monday, March 3, 2008

Genre Theory

Week Five

Aristotle's Poetics is brought to mind by Kate DeBolt's poem, mostly by the title ("Recognition Scene" -- I would cut the "The" because it is a recognition scene of a softsurreal sort rather than a poem about recognition scenes per se, tho it is a bit more ambiguous than "A Recognition Scene" would be).

I'm assuming you've read The Poetics -- there are many versions online -- hint, if you haven't, now's your chance:

At the Internet Classics Archive (ok, really frumpy html)

At Perseus (great resource)

Aristotle's genres are Tragedy, Comedy, and the Epic, although the Comedy part is missing. It's that always the way?

There are some ideas in the poetics that are important to consider, especially given our rubric:

imitation/representation. what does it mean to imitate 1) nature, 2) another writer, 3) "reality"
beyond this, what does representation mean?

the classic book regarding this is Auerbach's MIMESIS. The classic scene is a recognition scene: Odysseus & Penelope.

interruption of another course poem, this one an ongoing project that Jeremy may share bits of, if he's happy with it. about writing an ars poetica. because, of course, THE POETICS is an ars poetica, albeit not written as poetry.

But I've several back burner things involving another group of ars poetica, perhaps more suited to Jeremy's task than Aristotle:

Philip Sidney, Defense of Poesie (i.e., what is it good for?)
at Project Gutenburg (great resource)

the much later Percy Bysshe Shelley's Defence of Poetry
at Bartleby, pretty good resource, block pop ups

George Puttenham, The Arte of English Poesie
prosody, style, diction/decorum

Thomas Love Peacock, The Four Ages of Poetry

Wednesday, February 27, 2008

Patrice Nganang

On Saturday, March 8th, in Mildred Sainer Auditorium, Patrice Nganang will give a talk on the personal and collective politics of African writing: “The Library of Njoya: The Dream from which I Write”

The talk is free and open to the public; a reception will follow.

In addition, there will be two forums where students can meet and speak with Nganang:

First, an open session at the Four Winds on Friday March 7, from 3-5:30 for students who want to talk to Nganang—in English, French or German—about his work, African literature, graduate study in comparative literature, etc.

Second, a lunch & roundtable on Saturday March 8.? Seating will be limited at this; if students want to attend, they need to contact Agne Milukaite or Marilee Pray ( for details.

More information about Nganang follows.


Patrice Nganang is a fascinating, powerful and provocative writer, academic & speaker. Originally from Cameroon (he left Cameroon in the wake of the protests in the early 1990s that came close to toppling the regime of Paul Biya), he holds a doctorate from the University of Frankfurt (Germany) and is currently on the faculty of SUNY Stonybrook (in comparative literature). He is a young and prolific author (he has published 3 novels to date, collections of poetry, short stories and novellas, as well as works of literary criticism on topics ranging from contemporary theater (a comparative study of Brecht and Soyinka) to African film. He has been awarded two prestigious French literary prizes, the Prix Marguerite Yourcenar in 2001 and the Grand Prix de la litt?rature de l’Afrique noire in 2002, both for his novel “Temps de chien” (which I translated as “Dog Days”).

His work is very political and inspiring. His fiction touches on issues ranging from the social manifestations of political oppression in Cameroon to the silenced history of the Bamileke genocide that followed Cameroon’s independence. Because he is most interested in creating a space for silenced voices to be heard, he weaves stories that are compelling, poignant and vibrant with humor. His essays are very political – whether challenging the passivity of African elites in the face of political violence or the self-important attitude of literary critics who judge African literature. This winter he traveled to The Hague to witness the trial of former Liberian president Charles Taylor.

Nganang will be on the New College campus for 3 days, holding discussions and roundtables with students, and capping off his visit with a public talk on Saturday.