In their introduction to My Vocabulary Did This to Me: The Collected Poetry of Jack Spicer (Wesleyan University Press, 2008), Kevin Killian and Peter Gizzi write about Spicer's idea of the serial poem, "a book-length progression of short poems that function together as a single movement." Robin Blaser described the form as "a dark house, where you throw a light on in a room, then turn it off, and enter the next room, where you turn on a light, and so on." As Spicer's poetry "moves from dark room to dark room," Killian and Gizzi write, "each flash of illumination leaves an afterimage on the imagination, and the lines of the poem become artifacts of an ongoing engagement with larger forces." Read some of Jack Spicer's long poems, including The Holy Grail and Billy the Kid. Consider throwing a light on some rooms of your own.

Poet and artist Amanda Deutch blogs about her P&W–supported poetry and arts festival, Parachute: the Coney Island Performance Festival. She is the author of four chapbooks: Gena Rowlands, Box of Sky: Skeleton Poems, Motel Drift, and The Subway Series. She is also the recipient of a 2007 Footpaths to Creativity Fellowship to write in the Azores Archipelago.

“Long ago when I was a young man, Coney Island was a favorite spot. At that time, Coney Island had not the reputation it has now.”—Walt Whitman

I had an idea to have a free community-based poetry and arts festival in Coney Island, a neighborhood on the edge of a city. The festival would incorporate site-specific poetry, free workshops, and readings in a spectacular location. I wanted to create a space where people who had written about Coney Island could come and read and share their words about the place. Coney Island is a neighborhood with a vivid art and literary history, and for me it holds significant family history. My mother’s family lived in Coney Island, on 29th between Mermaid and Surf, for almost twenty years, from the 1920s to the 1950s. Ever since hearing my grandmother Betty first say the words, “Half Moon Hotel,” "Abe Reles," and "meshugana," Coney Island held a poetic resonance for me. I wanted to spend as much time as possible in the place where this Half Moon Hotel once towered with views of the Atlantic and a 150-foot ferris wheel could be landmarked.

Years ago, when I told a good friend my idea to have a festival, he said, “Go for it.” That’s how a lot of things get started in my life, simply with an inspiration and a good friend saying, “Go for it.” I suppose I am lucky to have such good friends and perhaps a little bit of raw nerve. My idea has grown into a nonprofit, Parachute: the Coney Island Performance Festival. I have been able to invite some of the most innovative, incredible, and groundbreaking New York City poets and writers to come and read in Coney Island’s New York Aquarium in front of sea nettle jellyfish—not your typical space for a poetry reading—for an audience that is not your typical poetry audience. Our festival’s audience consists of “regular folks.” We invite mostly native New Yorker writers who are pushing boundaries in the field of poetry. I have had the opportunity, through Poets & Writers’ Readings/Workshops Program, to offer writers a small fee to read and to give a writing workshop during the festival. Brooklyn-based poet Patricia Spears Jones read at the debut festival and lead a free writing workshop for adults at the Mermaid Avenue Library. She enjoyed the experience so much that she came back again and would like to continue leading workshops for us. This symbiotic relationship between artists and the community is just what I was after. Award-winning poet Cara Benson recently said, “How could I ever forget reading there?” I have often thought, "Why can’t poetry readings be in incredible aesthetic environments? Why not have site- specific poetry?" So here you have site-specific poetry!

Many writers reading for the festival have already written prose or poetry about Coney Island. If they haven’t, I encourage writers to create a new Coney Island work especially for Parachute: the Coney Island Performance Festival. Edwin Torres (mentioned in a previous post) came and surprised everyone by reading a rare autobiographical poem, “Coney Island 1969,” that was more narrative than most of his experimental poetry. The poem spoke of his father coming from the Bronx to work as a manager at Nathan’s in Coney Island when he was a little boy growing up in New York City!

This past year we incorporated an audio installation of a poem by the world renowned Bronx born, architect, artist and poet Vito Acconci into the festival. With the help of the Aquarium staff, I placed it outdoors for two evenings in the New York Aquarium’s plaza, beside the penguins. One of the truly spectacular spatial relationships is that Vito’s firm Acconci Studios designed the sculptural art, “Wave-A-Wall,” on the West 8th subway station right across the street! So you could hear his poem “Antarctica” in a small nook beside the penguins while watching the sky change colors right across the street from one of his art commissions.

We also had the ticket-takers who work in the Eldorado Bumper Cars ticket booth on Surf Avenue Trudy and Louis read Coney Island poetry on the mic. Just yesterday Louis stopped me on the street and said, "Hey, when are we doing that again? I got some poetry I want to read and found some poets who would like to get on the mic, too."

Parachute: the Coney Island Performance Festival brings site-specific poetry, installations, symbiosis, and local New York City writers waxing poetic about Nathan’s—all for less than the price of a hot dog. It's free!

Photo: Cara Benson, Amanda Deutch, and Edwin Torres.

Support for Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, The Cowles Charitable Trust, the Abbey K. Starr Charitable Trust, and the Friends of Poets & Writers.

Spend a few moments looking around your kitchen, office, or bedroom, and gather any found objects (not including books, magazines, or journals) that contain text: post-it notes, receipts, a piece of mail, the packaging of food or household products. Freewrite for fifteen minutes, recording as many words and phrases from the objects as you can, and taking note of any connections, associations, or themes that may arise. Then write an essay about what you find.

The National Book Critics Circle (NBCC) has announced the creation of the John Leonard Award, a new prize honoring a first book of poetry, fiction, nonfiction, biography, criticism, or autobiography. The recipient of the award—who will be selected by the NBCC’s member critics and editors—will be announced at the annual NBCC awards ceremony in early 2014.

The new award is named in honor of John Leonard, a literary critic and former editor of the New York Times Book Review. A founding member of the NBCC, Leonard (1939–2008) was known not only for his criticism of books, film, and television, but also for his encouragement of young critics and the attention he paid to debut writers. “One of the first American critics to write on Toni Morrison, Maxine Hong Kingston, and Gabriel Garcia Marquez, Leonard shared his enthusiasms with a wide reading audience,” the NBCC reported in a press release. “In creating the John Leonard Award, the NBCC recognizes his commitment to nurturing new authors.”

Founded in 1974, the National Book Critics Circle Awards are given annually "to honor outstanding writing and to foster a national conversation about reading, criticism, and literature." The awards are open to any book in English, including translations, published in the United States in the previous year. Poet D.A. Powell and fiction writer Ben Fountain received the 2012 awards. The John Leonard Award will be the first award selected directly by the NBCC’s membership—which is comprised of nearly five hundred book critics, editors, and authors nationwide—rather than by its board of directors.

"As a reader, I have a favorite canon of ranters that runs from Dostoevsky to Thomas Bernard to the Philip Roth of Sabbath's Theater," says novelist Claire Messud in a profile by Michael Washburn in the current issue of Poets & Writers Magazine. "I love a ranter." Read some of the work of the authors Messud mentions and write a rant of your own.

In honor of the centennial anniversary of the birth of May Swenson, on May 28, read some poems by this award-winning poet (consult the Academy of American Poets website for a bibliography), then write a poem with her work in mind. Remember, this is a poet who, four months before her death on December 28, 1989, wrote, "The best poetry has its roots in the subconscious to a great degree. Youth, naivety, reliance on instinct more than learning and method, a sense of freedom and play, even trust in randomness, is necessary to the making of a poem."

American author Lydia Davis has won the fifth Man Booker International Prize. The award, worth £60,000 (approximately $90,000), was presented to Davis yesterday at an awards ceremony in London. 

Davis, whose recent prose chapbook, The Cows, was published by Sarabande Books in 2011, and whose collaborative work, Two American Scenes, is just out as part of the New Directions poetry pamphlet series, is best known for her short stories, which are often noted for their brevity. Christopher Ricks, chairman of the Man Booker International Prize panel of judges, said Davis’s “writings fling their lithe arms wide to embrace many a kind. Just how to categorize them? They have been called stories but could equally be miniatures, anecdotes, essays, jokes, parables, fables, texts, aphorisms or even apophthegms, prayers, or simply observations.”

Davis is the author of nine story collections and one novel, The End of the Story (Farrar, Straus and Giroux, 1994). She is also a translator of French literature, most notably Marcel Proust’s Swann’s Way and Flaubert’s Madame Bovary. 

The Man Booker International Prize is given biennially to a fiction writer from any country for a body of work. Living authors who have published fiction originally in English or whose work is generally available in translation in the English language are eligible. The winner is chosen solely at the discretion of the judging panel, which this year included Ricks, Elif Batuman, Aminatta Forna, Yiyun Li, and Tim Parks. 

The finalists were U. R. Ananthamurthy, Aharon Appelfeld, Intizar Husain, Yan Lianke, Marie NDiaye, Josip Novakovich, Marilynne Robinson, Vladimir Sorokin, and Peter Stamm. The previous prize winners have included Chinua Achebe, Ismail Kadaré, Alice Munro, and Philip Roth.

Often found in the work of Elizabethan and Romantic poets, anaphora—a Greek word meaning “the act of carrying back”—is the repetition of a word or expression at the beginning of successive lines, sentences, fragments, or verses. Write a short anaphoric essay beginning each sentence with the same word or phrase.

Imagine you are your main character (or just write from your own perspective). What do you really, really want? Now, start talking about that object of desire. Don’t keep saying, “I want X, I want X, I want X.” Rather, just talk about the thing you want, in all its desirable specificity. Let yourself get caught up in all that wanting.
This week's writing prompt comes from Eileen Pollack, whose most recent novel, Breaking and Entering, was published in January 2012 by Four Way Books. She wrote about desire and writing for Fiction Writers Review.