Ken Waldman has six full-length poetry collections, a children's book of Alaska-set acrostic poems, and a memoir about his work as a touring artist. His nine CDs combine old-time Appalachian-style string-band music with original poetry. A former college professor with an MFA in creative writing, he's made his living as a freelance writer, musician, performer, and educator since 1995.

This past November, Burlingham Books in rural Perry, New York, sponsored a Poets & Writers workshop and reading. At 5:30 on a chilly Tuesday evening, eleven of us gathered around a makeshift table in a corner of the bookstore. For ninety-minutes, we discussed our writing lives amidst four writing exercises. At 7:00 PM, I walked to another corner of the store, this time to stand before approximately thirty-five people, one of whom I'd learned was a local fiddler and violinmaker. To begin, I took out my fiddle, played a tune, then went into one of my collections and found a sonnet, The Violinmakers. After nodding to my new acquaintance, I shared the poem I'd written about his craft.

The fifty-minute reading was followed by a short question-and-answer session. All this was fine, but what made this event more special is that it enabled me to spend the following day at Letchworth Central High School, where I led a short assembly for 350 students, faculty, and staffers, then visited seven English classes. The daylong school visit, which was funded separately, would not have happened without the support of Burlingham Books and Poets & Writers.

What's instructive is explaining how the Perry bookstore event came to be.

Six months earlier I'd been invited by The Stage, a theatre in neighboring Warsaw, New York, for a Poets & Writers workshop and reading. Ahead of schedule that Sunday afternoon, I'd detoured through Perry specifically to stop in Burlingham Books, where I happened to meet a part-time employee, Melissa Stroud, an English teacher at a nearby high school. Before leaving the store, I gave Melissa a few of my books and CDs, as well as several sheets explaining my work in schools.

Later that month, when a library in Geneseo, in adjacent Livingston County, also secured Poets & Writers funding to host me, Melissa attended both the workshop and the reading. Subsequently, it was through her efforts that I was invited to Burlingham Books, and to her school, where I understood it had been five years since a visiting artist of any kind had come, and a longer time since a practicing, published writer had appeared. In this case, I not only stood answering questions in front of classes that had been reading my poems as preparation for my visit, but when I shared poems before the whole school, the assemblage included the high school principal and the school district superintendent.

One more thing about the Perry appearance. It was heartening that among the attendees of both the workshop and readings were folks who'd previously seen me in Warsaw. So, while I expect to return to the region in 2013, it's also my understanding that it won't be such a long time before another writer comes to Letchworth Central High School, perhaps again in conjunction with a Poets & Writers event.

Photo: Ken Waldman.  Photo Credit: Kate Wool.

Support for Readings/Workshops in New York is provided, in part, by public funds from the New York State Council on the Arts, with additional support from the Friends of Poets & Writers.

PW-funded poet Camille Dungy blogs about the daily life of writers and the role Poets & Writers' Readings/Workshops program plays in that life. Dungy is a professor in the Creative Writing Department at San Francisco State University. She has published three collections of poetry—Smith Blue (Southern Illinois University Press), winner of the 2010 Crab Orchard Open Book Prize; Suck on the Marrow (Red Hen Press); and What to Drink, What to Leave for Poison (Red Hen Press).

If you are reading this post you may be interested in understanding more about the life of the writer. What is it we do all day?

I'll tell you: We answer questions.

That's about all we do. We see something and we ask a question about it, and then we write towards our best answer to that question. Or, someone asks us a question, and we don't know the answer right away, and we write toward our best answer. Or we get angry, or sad, or irrationally happy, and we want to work our way away from or back into that emotion. Did JFK really love Jackie? What color would you say is prominent in that sunset? Why don't they understand climate change isn't a joke? We wouldn't be writers if we didn't live with a stockpile of questions awaiting our response. What was she thinking when she drove away from that job? What was she thinking when she drove into the valley. What was she thinking? What?

The Poets & Writers Readings/Workshops program is all about helping writers. When P&W co-sponsors a program, community arts organizations kick in a portion of a reader's fee and then P&W matches that sum. Have you ever wondered what was in those white envelopes people hand to workshop facilitators at the end of a seminar? I'm telling you the secret now: At the end of every Poets & Writers co-sponsored program, writers receive a check stapled to a questionnaire printed on salmon-colored paper and an envelope in which to return the questionnaire. P&W asks writers a slew of questions, and they encourage them to write their answers down.

Questions, questions, questions. These are what we writers dream of all day.

The front side of the questionnaire is easy. Did you get paid? How many people attended the event? Your audience was made up of people representing what ages, ethnicities, etc.? Were your books sold? Was the publicity acceptable? Would you work with these people again? One-word answers can suffice: yes, 5049, mixed, yes, yes, yes. There is no room for elaboration on that first page.

But that's one of the most important things writers do all day, we have to develop elaborate answers. Writers read more into the world than is immediately evident. Vanilla ice cream only has to be plain if you do not push yourself to taste the nuances of the vanilla bean, the variations in the consistency of the cream, to feel the coldness on your inner cheek, and conceptualize the heat transference that made the bite you just took melt over your tongue. Do I like vanilla ice cream? Yes, I could write. Or I could write much, much more.

So, it's generous that Poets & Writers, as part of their mission to support writers, provides a second page on their questionnaire with a series of complicated questions requiring elaboration: Describe the event, including the event program and the audience response. How effective was the sponsoring organization in presenting this event? Are there ways the organization could better assist readers or workshop teachers? What was the impact of receiving support from Poets & Writers on your experience of this event, your career as a writer, your relationship with your audience, etc?

If I could figure out really good answers to these questions, I could write a whole book.

That's what we do all day as writers. We ask ourselves, how am I going to write a whole book? Then we go looking for answers.

Photo: Camille Dungy.  Photo credit: Marcia Wilson/Wide Vision Photography.

Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

P&W-supported writer Melissa Petro recently led a memoir-writing workshop for current and former sex workers at Red Umbrella Project in New York City. Petro’s work has appeared in the Huffington Post, Daily Beast, Salon, Jezebel, Guardian, and elsewhere. She lives in New York City and teaches for Gotham Writers Workshop.

When people with no experience or personal knowledge hear the phrase “sex work,” one media misrepresentation may spring to mind: Julia Roberts in a cut-out mini dress and patent leather knee-high boots or—just as bad—that floor-length red velvet gown.

This is not an accurate picture of people who trade sex for things they need—or of what happens when people do—according to Red Umbrella Project, an organization that provides storytelling, media, and advocacy training and support for people in the sex trades who wish to speak out about their experiences.

On December 6, 2012, Red Umbrella Project celebrated the graduating class of the Becoming Writers Workshop, an eight-week memoir-writing workshop for individuals with experiences in the sex trade, made possible in part by a grant from Poets & Writers. The evening was part one of a two-night event (the second will be on January 3, 2013) and featured one half of the class sharing original material conceived in class, which was published in the inaugural issue of PROS(E), the literary journal of Red Umbrella Project (available for sale at http://www.redumbrellaproject.org/buy-prose-issue-1/).

The purpose of the workshop, like all Red Umbrella Project programming, was to challenge common misconceptions and erroneous representations of sex workers by allowing individuals with experiences in the sex trade to represent themselves publicly and in print.

The organization combats stigma and discrimination while providing people in the sex trade with communication and transferrable job skills. People turn to the sex trade to generate income for as many reasons as there are sex workers, and yet given the prevalence of misinformation about the trade, sex workers’ personal stories are oftentimes surprising.

In 2010, I lost my job as a public elementary school teacher after it was discovered that I was writing and speaking about my past experience moonlighting as a call girl on Craigslist while earning my masters in creative nonfiction from the New School. Since losing my job, I have dedicated myself to the task of changing people’s negative perceptions of current and former sex workers by continuing to tell my story in all its richness and by teaching other individuals with minority experiences to tell theirs.

At the event, readers included “Dominick,” a former gay male escort; Aimee Herman, a queer performance poet living in Brooklyn; Essence Revealed, whose story chronicles the highs and lows of being a black woman working in Manhattan’s gentlemen’s lap dance club scene; as well as eighties porn actress and activist Veronica Vera, who recreated for a raptured audience the moment she became co-star to her then-friend Annie Sprinkle.

The January 3 event boasts an equally diverse line-up. Expect anything and everything—anything and everything, that is, except just another “Pretty Woman.”

Photos: Top: Melissa Petro reads from the anthology PROS(E). Bottom: Red Umbrella staff and participants (left to right): Melissa Petro, Veronica Vera, Niesha Sharay Davis, Aimee Herman, Essence Revealed, Dominick, and Audacia Ray at Happy Ending Lounge. Credit: David Kornfield.

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.