Spunky Spirits Take the Stage at the Tucson Youth Poetry Slam

J. Sarah Gonzales is CEO of the national social justice consulting company, TruthSarita, LLC, which supports building collective power to dismantle inequity. She also serves as codirector of Spoken Futures, Inc., developing programs to create space for youth to address issues such as the school-to-prison pipeline, LGBTQ rights, and migrant justice through spoken word poetry. Gonzales is a published poet and currently works with the Cultural Centers at the University of Arizona.

Spoken Futures, a youth organization based in Tucson, Arizona, hosted the season kickoff of the Tucson Youth Poetry Slam (TYPS) on August 19, 2017, which featured P&W­–supported poet Bobby Wilson. Wilson’s work is heavily influenced by his Dakota heritage, and his spunky spirit and deep cultural roots resonated with the high school-aged youth. He led a writing workshop with about ten youths, moving them through the anxiety of writing and performing. By the end, all overcame their fears and signed up to compete in the poetry slam.

Held monthly at Bentley’s House of Coffee & Tea, youths from all over Southern Arizona come to listen, support, write, and perform in this incredibly welcoming environment. The slam is organized and hosted by TYPS coordinator Eva Sierra, a former youth participant who has joined the Spoken Futures staff.

There were about sixty people in attendance and judges were picked from the audience at random. Over the course of two hours, each young person got up to the mic and read poems about issues present in their everyday lives. Nathan spoke about growing up in foster care and group homes. Yasmin shared: “My childhood home now a construction site for stores, but what they don’t know, is that it was the house that built me.”

Wilson, a new transplant to Tucson, but a friend of many years to local organizers, also performed a set halfway through the slam. He roped in the audience with poems about his indigenous heritage, trauma from colonization, and dreaming our dreams. In his opening piece, he spoke about the national anthem: “I will not stand, I will not kneel. There are needles in our knees given to our grandparents by good God-fearing men and the women they own.” Wilson is raw, honest, and a kind person. He stayed late to talk to youth, and supported our work with his time and energy.

As youths learn to write about the inequities shaping their futures, we become more firmly dedicated to finding ways to keep this space funded and running. The TYPS kickoff was a huge success thanks to all our supporters! We are extremely excited for all the youth poets and featured poets we have lined up for the 2017-2018 season. Thank you to Poets & Writers, Bentley’s, and all our loving families and community who come together to support youth voice in southern Arizona. Read more about Spoken Futures, Inc. and the Tucson Youth Poetry Slam at spokenfutures.org.

Support for Readings & Workshops in Tucson is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.

Photos: (top) J. Sarah Gonzales (Credit: Diana Toj). (bottom) Bobby Wilson (Credit: Hannah Manuelito).

December Poetry Deadlines

Poets—as 2017 comes to a close, why not end the year with a bang and submit to a poetry contest? Below is a list of contests for single poems, chapbooks, and full-length collections with deadlines during the second half of December. Each contest offers a prize of at least $1,000 and publication. Happy Submitting!

Deadline: December 20

String Poet Poetry Competition: A prize of $1,000 and publication in String Poet is given annually for a poem. The winner also receives an original music composition by a professional composer inspired by the winning poem, which will be performed at the Awards Ceremony in Spring 2018. Micheal O’Siadhail will judge. Entry fee: $18

Deadline: December 22

Poetry Society of America Chapbook Fellowships: Four prizes of $1,000 each and publication by the Poetry Society of America are given annually for poetry chapbooks by poets who have not published a full-length collection. Two fellowships are given to poets ages 30 and under, and two fellowships are given to poets of any age. Entry fee: $12

Poetry Society of America Robert H. Winner Memorial Award: A prize of $2,500 and publication of a poem on the Poetry Society of America website is given annually to a poet over 40 who has published no more than one book. Entry fee: $15

Deadline: December 30

New Issues Poetry & Prose Poetry Prize: A prize of $1,000 and publication by New Issues Poetry & Prose is given annually for a first poetry collection. The winner will also receive an honorarium of $500 and travel expenses to give a reading at Western Michigan University in Spring 2018. Poets who have not published a poetry collection of more than 48 pages are eligible. Cathy Park Hong will judge. Entry fee: $25

Deadline: December 31

The Moth Poetry Prize: A prize of €10,000 (approximately $12,000) and publication in the Moth is given annually for a poem. Three runner-up prizes of €1,000 (approximately $1,200) each are also given. The winners will also be invited to read at an awards ceremony in Dublin in Spring 2018. Daljit Nagra will judge. Entry fee: $13

Tampa Review Prize for Poetry: A prize of $2,000 and publication by University of Tampa Press is given annually for a poetry collection. Entry fee: $25

Tupelo Press Dorset Prize: A prize of $3,000 and publication by Tupelo Press is given annually for a poetry collection. The winner also receives a weeklong residency at the Massachusetts Museum of Contemporary Art. Entry fee: $30

Visit the contest websites for complete guidelines, and check out our Grants & Awards database and Submission Calendar for more upcoming contests in poetry, fiction, and nonfiction.

If you’re ready to submit right now, check out these contests with deadlines TODAY (12/15/17).

Headed for Winter

12.14.17

In preparation for cold winter months, red-toothed shrews are able to shrink their head and brain mass by 20 percent and then regrow it as the weather warms up in spring. With this survival strategy, they expend less energy when food resources are scarce. Does your energy level or your relationship to your body change during certain seasons? Does your body feel, act, or respond differently in the winter? Write a personal essay about measures you’ve taken, whether moderate or drastic, to adjust your body to difficult times or discomfiting temperatures at various points of the year. 

Submissions Open for $10,000 Story Collection Prize

The deadline is approaching for the inaugural Hub City Press C. Michael Curtis Short Story Book Prize. An award of $10,000 and publication by Hub City Press will be given annually for a debut story collection by an author living in the Southern United States. Acclaimed short fiction writer Lee K. Abbott will judge. The winning collection will be published in Spring 2019.

Writers currently residing in Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas, Virginia, or West Virginia who have not published a full-length book are eligible. Using the online submission system, submit a manuscript of 140 to 220 pages, including at least six stories, with a $25 entry fee by January 1, 2018. Stories should not exceed 15,000 words each. Visit the website for complete guidelines.

Of the new prize, Hub City Press founder and publisher Betsy Teter says, “We are thrilled to announce one of the most substantial short story prizes in North America and to honor C. Michael Curtis, who has been a great friend to Hub City Press over the years.” Established in 1995 in Spartanburg, South Carolina, Hub City Press is “committed to well-crafted and high-quality works by new and established authors from the American South.” C. Michael Curtis has been an editor of the Atlantic since 1963 and currently resides in Spartanburg.

In Converse

12.13.17

In her story “My Wife, in Converse,” Shelly Oria delivers a narrative about a relationship in eighteen short sections, including one section that’s only nine words long. This fragmented approach allows the story to unfold and reveal so much about the characters while using a relatively small number of words. For a writer, an approach like this can be liberating: not every scene needs to be neatly explained or expanded. This week, try writing your own short story in eighteen sections, and listen for the conversation that develops between them.

The Fruitcake That Time Forgot

12.12.17

How long can a fruitcake last? Conservators from the Antarctic Heritage Trust in New Zealand revealed earlier this year that a well-preserved fruitcake, which likely belonged to British explorer Robert Falcon Scott, had been discovered in one of the continent’s oldest buildings. Scott’s expedition dates to 1911, making the fruitcake, which “smelled edible,” 106 years old. Write a poem from the vantage point of this fruitcake, perhaps touching upon topics such as the stereotypical longevity of the traditional dessert, frigid Antarctic isolation, or the prospect of resurfacing in civilization after missing out on over a century’s worth of events.

An Industry of Writers and Our Greatest Freedom: A Snapshot From the New York Literary Scene

Winner of the 2017 Maureen Egen Writers Exchange Award for fiction from Poets & Writers, and one of the “5 More Over 50” debut authors in the November/December 2017 issue of Poets & Writers Magazine, Joan Dempsey is the author of the novel, This Is How It Begins (She Writes Press, October 2017). She received an MFA from Antioch University Los Angeles and was the recipient of a significant research grant from the Elizabeth George Foundation. Her writing has been published in the Adirondack Review, Alligator Juniper, Obsidian: Literature of the African Diaspora, and Plenitude Magazine, and aired on National Public Radio. 

On a crisp, clear October morning, the three of us hustled down Vesey Street in Lower Manhattan, not wanting to be late for our meeting with Deborah Treisman, fiction editor at the New Yorker. We hurried past chain-link fences, shrouded to obscure what remains undone in the wake of 9/11. We waved away hawkers who propositioned us with memorial tours. We tried not to think about going up thirty-eight stories in the One World Trade Center building.

I was in Manhattan as the winner for fiction of the 2017 Maureen Egen Writers Exchange Award from Poets & Writers, which includes an all-expenses-paid whirlwind tour of the New York literary scene. Brian Evans-Jones, the winner for poetry and a fellow Maine resident, kept pace beside me. Both of us trotted along after Bonnie Rose Marcus, director of Readings & Workshops (East) and the Writers Exchange, who kept us on schedule as we rushed from one meeting to the next.

By the end of our six days, we’d gathered with nearly thirty people working in the literary world. The meeting with Treisman came on our second morning, but in hindsight it feels like the culminating event because it so well personifies the collective spirit of the week.   

The guard in front of the revolving doors at One World Trade Center tried to shoo us down the block, assuming we were there for the 9/11 tour. We stated our purpose and were suddenly inside the cavernous lobby, the ceiling an impossibly high sixty-five-feet overhead. Other guards scrutinized our IDs, photographed us, carefully searched our bags, and ushered us through the metal detectors. We made nervous small talk, each of us keenly aware that we were heading up into the sky that used to house the twin towers.

The New Yorker offices are as lovely as you might imagine: walls lined with framed cartoons and magazine covers, books and papers everywhere, the distinctive Irvin typeface gracing the signs that indicate who inhabits each office. Walls of glass abound, maximizing the sweeping views out to Ellis Island and the Statue of Liberty and all the way uptown to the Empire State Building.

In Treisman’s office, she encouraged us to step right up to the window to get the full view; it was impossible not to think about those who had jumped. Far below, the twin reflecting pools occupy the footprints of the original towers. We talked about editing Alice Munro, the significance of fiction, and the gravity of fact-based journalism during the Trump era. “It’s no secret that we’re not fans of Trump,” Treisman said fiercely. I felt a similar fierceness—an urgency—in each of our meetings, an undercurrent of purpose that writers in gentler times are spared.

As we toured the New Yorker offices, a few people glanced up and smiled, but most were assiduously tending to their work. The quiet buzz of dedicated, brilliant, and creative industry I felt in that office was echoed in every other meeting that week. It filled me with a sense not of comfort, exactly, but of certitude. Literary artists continue to use words as writers have always used words: to speak truth to power, to inspire and bear witness, to exercise our greatest freedom. I am proud to be among them.

The Maureen Egen Writers Exchange Award is generously supported by Maureen Egen, a member of the Poets & Writers Board of Directors.

Photos: (top) Joan Dempsey and Brian Evans-Jones at the New Yorker offices (Credit: Bonnie Rose Marcus). (bottom) Joan Dempsey and Brian Evans-Jones with judges for the 2017 Maureen Egen Writers Exchange Award Tania James and Cynthia Cruz (Credit: Margarita Corporan).

Submissions Open for New $20,000 Poetry Prize

Submissions are open for the Four Quartets Prize, sponsored by the T. S. Eliot Foundation and Poetry Society of America. Launched in November, the prize is given for a sequence of poems published in the United States in the past two years. The winner will receive $20,000.

Established in honor of the seventy-fifth anniversary of the U.S. publication of T. S. Eliot’s Four Quartets, the prize will be judged by Linda Gregerson, Ishion Hutchinson, and Jana Prikryl. The prize is “first and foremost a celebration of the multi-part poem,” such as Eliot’s Four Quartets, Gwendolyn Brooks’s A Street in Bronzeville, and John Berryman’s 77 Dream Songs.

Submissions are open until December 22. Authors, publishers, and agents may submit four copies of at least fourteen pages of a poetic sequence published in a print or online journal, chapbook, or book in 2016 or 2017. Sequences published across multiple publications are eligible. There is no entry fee. Visit the website for the required entry form and complete guidelines.

The shortlist for the prize will be announced in New York City on April 12 at an event featuring actor Jeremy Irons at the 92nd Street Y. Three shortlisted finalists will each receive $1,000. The winner will be announced the following day.

The Poetry Society of America, based in New York City, is dedicated to promoting the place of poetry in American culture. The T. S. Eliot Foundation, based in London, is dedicated to celebrating poetry, literacy, and “all things Eliot.” The foundation also administers the annual £25,000 T. S. Eliot Prize, given for the best new poetry collection published in the United Kingdom or Ireland.

I'll Give You My Word

12.7.17

In Literary Hub's piece “137 Writers and the Words They’re Best Known For,” Kaveh Akbar lists responses he received from Twitter when asking for words that readers associate with a writer, those that have become their “signature” word. The pairings include Samuel Coleridge and “albatross,” Ross Gay and “gratitude,” Adrienne Rich and “wreck,” and Rebecca Solnit and “mansplain.” Write a short series of micro essays, each one exploring one word you often use in your own writing or speech. How does your repeated usage reflect a persistent preoccupation, an important memory, or evoke an influential person in your life?

Meet Me in the Mall

12.6.17

Though indoor shopping malls hit a peak in the mid- to late-1980s, financial services company Credit Suisse reported earlier this year that about a quarter of the enclosed malls still existing in the United States will be shut down within the next five years. Write a short story that takes place in what was once a popular shopping mall. Is it completely in shambles or just eerily empty? Has the mall been repurposed, as some have been, into entirely new spaces such as micro apartments, hospitals, offices, churches, greenhouses, and sports arenas? How does this affect the characters, their livelihoods and community?

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