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Dialogue is about economy of words. Less means more. Dialogue should reveal characters through tension. Write a scene in which your protagonist must convince a stranger to divulge his or her social security number. The context is irrelevant. Use the conversation to show readers who, exactly, this protagonist is. At the end of the scene, have the stranger whisper the number into the protagonist’s ear.
At a press conference in London this morning, the Man Booker Prize Foundation announced the shortlist for the 2013 prize. The winner, who will receive 50,000 British pounds, or approximately $75,000, will be announced October 15.
The finalists are:
We Need New Names by NoViolet Bulawayo (Chatto & Windus/Reagan Arthur Books)
The Luminaries by Eleanor Catton (Granta)
The Harvest by Jim Crace (Picador)
The Lowland by Jhumpa Lahiri (Bloomsbury)
A Tale for the Time Being by Ruth Ozeki (Canongate)
The Testament of Mary by Colm Tóibín (Viking)
The judges selected the six finalists from a longlist of thirteen announced in July, a list that judge chair Robert Macfarlane called the most diverse in recent memory. The shortlist maintains that diversity, with the novelists hailing from New Zealand, England, Canada, Ireland, and Zimbabwe, and the time periods and settings spanning the biblical Middle East (Tóibín), contemporary Zimbabwe (Bulawayo), 19th-century New Zealand (Catton), 1960s India (Lahiri), 18th-century rural England (Crace), and modern Tokyo (Ozeki). The oldest author on the list is Jim Crace, at 67; the youngest, Eleanor Catton, is 28.
“It is an exceptionally international and exceptionally varied shortlist,” Macfarlane said. “What connects them is connection. They are all about ways of connecting: technological, familial, emotional and in one case elemental. There are also inevitably about connections in reverse: loss, grief, separation, exile and dispossession. In some ways, these novels are all about the strange ways in which people are brought together and the painful ways in which they are held apart.”
The Man Booker Prize is given annually for a book of fiction published in the previous year and written by a citizen of the United Kingdom, the British Commonwealth, or the Republic of Ireland.
Writing poetry can be a lonely endeavor. Reading poetry, however, can introduce us to people and worlds we’ve never experienced. Use the power of poetry to help someone who is lonely. The woman resting her head on the steering wheel at a long red light. The old man with a soggy coaster at the end of the bar. The adolescent kid hiding in the school bathroom. Write a poem for them, from you.
P&W-funded Jamaal May is a poet from Detroit, MI, where he taught poetry in public schools and worked as a freelance audio engineer and touring performer. His poetry won the 2013 Indiana Review Prize and appears in journals such as Poetry, Ploughshares, and The Believer. Jamaal has earned an MFA from Warren Wilson and fellowships from Cave Canem and Bucknell University. His first book is Hum (Alice James Books, 2013), and he is founder of the Organic Weapon Arts Chapbook Press.
Writers frequently ask me how to get more readings. I’ve said for years I don’t know why people give me money and sit still to hear me recite poems. But now that this bizarre phenomenon has occurred more than 600 times in the last nine years (three funded by P&W), I have to admit I do know why I get so many readings, and only part of it is luck. The truth is people like to hear me read. So the better question to ask is “How can I give better readings of my work?” Below are my top five tips.
Use Your Everyday Inflection
It’s remarkable to watch a poet charismatically engage an audience with banter then slip into a monotone drone when the poem starts. I suspect part of the reason for the “monotone drone” or the equally disheartening “poet voice” is a fear of performing. Writers tell me they don’t want to perform or be seen as performative. I would argue that an overly dry, disengaged reading is in fact a performance. No one speaks that way. Conversely, our daily conversations are full of varied inflection and shifts in tone. Rather than try to perform a poem, practice reading it in your own voice as if you’re telling those lines to a friend.
Focus on the Words
Another pitfall is the inherent distraction of facing an audience. I’ve found it helpful to shift my thinking to the why behind each poem. Every word in your poem was chosen for a specific reason. Read them as if they have a place in the world. Did an image delight you enough to write it down? Don’t fight back your delight. Did it haunt you? Take your time and let us feel the specter. If we think deeply about every line read, we are less likely to fret over the presence of an audience. Engage the work and engagement with the crowd will follow.
Try to Memorize Your Poems
The emphasis here is on “try.” Many believe they will never have a good enough memory to recite poems by heart. Even if this is true, you should try anyway. It will make you more familiar with the poems, you’ll make eye contact more frequently, and read with more confidence. At the very least you’ll know that line you have to nail is coming up. You will nail it.
Be Nervous
We know from elementary science that energy can’t be destroyed, only changed. Nervousness is a kind of energy so apply this concept to it. I’m still nervous before every reading and I don’t try to stop it anymore. Nervousness means you care. Take it as a sign that you are present and paying attention, then turn that energy and focus towards your poems. Apathy is a much worse state of mind to approach a reading with. The only one worse than that is feigned apathy.
Risk Yourself
When we see a good poetry reading, we are witnessing a writer becoming open enough to get in touch with what they’ve written, the same openness they’ve implicitly asked of the audience. It takes a risk to stand in front of people as if you have something of value to share. Let that come through and be as uncool and awkward as you need to be to get it done. The writing deserves it.
Photo: Jamaal May. Credit: Tarfia Faizullah.
Support for Readings/Workshops events in Detroit is provided by an endowment established with generous contribution from the Poets & Writers Board of Directors, and others. Additional support comes from the Friends of Poets & Writers.
The City of Philadelphia Office of Arts, Culture and the Creative Economy (OACCE) is currently seeking the city’s next Poet Laureate. Applications will be accepted until September 30.
Poets who are residents of Philadelphia, and who are able to demonstrate both a significant body of work and a record of commitment to community service, are eligible to apply. Using the online application form, applicants may submit four poems (up to ten pages total), a list of publications, a résumé, an artistic statement, and three references. Applicants may also submit up to three links to videos of public readings or performances. Applications must be completed and submitted online.
The Philadelphia Poet Laureate position was established in 2012 "in order to give one talented poet the opportunity to publicly represent the city in the medium of poetry and to serve the art form and field of poetry within the city.” The Poet Laureate will serve a two-year term, from January 2014 through December 2015, during which time they will be expected to raise awareness of poetry and creative writing within the city of Philadelphia through public events, readings, and community service activities, and provide mentorship to the city’s Youth Poet Laureate. The Poet Laureate will receive a stipend of $5,000 over the two-year term.
The city's inaugural Poet Laureate position has been held since January 2012 by poet and retired Temple University professor Sonia Sanchez. Her term ends in December.
The Poet Laureate Governing Committee—which is comprised of writers, editors, professors, and arts organization professionals from the Philadelphia area—will review all applications and make its recommendation to the mayor. Visit the OACCE website for more information and complete guidelines.
P&W-supported poet, speaker, teacher, and performer George Edward Tait is the author of At Arms and The Baker's Dozen: Selected Dance Poems by George Edward Tait, among other works. In July he gave a reading and workshop at the Atlanta-Fulton Public Library System’s Central Library. Linda Jordan, Manager of General Collections and Ivan Allen Jr. Reference Departments, blogs about his visit.
George Edward Tait is recognized by his fans as the Poet Laureate of Harlem, but last month he ventured well outside of New York City to make his first appearance at the Atlanta-Fulton Public Library System's Central Library, in Atlanta, Georgia.
I was honored to introduce him to the fifty-five budding writers who turned out for the workshop he led. Tait has been writing and teaching—at universities, juvenile detention centers, and senior centers—for over thirty years. During that time he also embarked on music projects and worked as an activist (Tait is also known as the “Poet Laureate of Afrikan Nationalism”). At the Atlanta workshop, Tait's wisdom flowed as he openly discussed his theories and practices and his belief in making emotional connections with readers.
Tait also delved into the nitty-gritty of craft, touching upon alliteration, imagery, and "Ars Poetica" (a poem that examines the nature of poetry). Then he addressed real-world concerns in discussions about marketing and self-publishing--topics that interested many workshop participants. After the workshop, he performed several poems and shared anecdotes about each piece. At the end of the day, a small group of participants were thrilled to have their own work personally reviewed by Tait.
Photo: George Edward Tait. Credit: Linda Jordan.
Support for Readings/Workshops events in Atlanta 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.
Social media has changed human interaction. Twitter, Facebook, and other digital platforms force us to create versions of ourselves that often misrepresent our true feelings and situations. This disconnect can interfere with our relationships and even distort our own identities. Write about a time when social media added turmoil to your life. Explore the difference between who you are online, and who you are at the dinner table.
Resist the temptation to build characters according to stereotypes. Character development must reflect the complexities of real people. Even Pure Evil buys his favorite niece a pony for her birthday. Learn to love your villains as people, and they will reward you as characters. Write a scene where the most despicable character in your fiction does something deeply touching and loving. Then send them on their evil way.
The Chicago–based MacArthur Foundation announced last week that it will increase the value of its annual fellowships—also known as “genius grants”—to $625,000.
Previously, grants of $500,000 have been given through the MacArthur Fellows Program to individuals working in various fields including literature, music, visual art, science, and medicine. Past winners—nearly nine hundred since the program's inception—have included poet Kay Ryan and fiction writer Junot Díaz. The foundation last increased the grant amount in 2000.
“We looked at many benchmarks and decided it was time to make an adjustment,” said Cecilia Conrad, vice president of the Fellows Program, who cited inflation as one factor in the decision to increase the grant amounts.
Established in 1970 by philanthropists John D. and Catherine T. MacArthur, the MacArthur Foundation bestows the unrestricted five-year grants to individuals based not on their past accomplishments, but instead on their potential.
“We believe the program inspires people from all walks of life to think about how they can use their own skills and ideas to make the world a better place,” Conrad wrote in a recent report on the inspiration and impact of the fellows program.
There is no application process for the grants, and recipients are nominated anonymously. The 2013 fellows will be announced September 25.
In the following video from the MacArthur Foundation, 2012 Fiction Fellow Junot Díaz discusses his work and the impact of the grant.
The end of summer means the beginning of autumn. This is a time of change. Write a poem about the changes occurring in your life. Choose powerful verbs. Focus on the feelings of expectation, fear, and relief that come with change. Use vivid imagery. It is during change that we are often the most alive.
