Dining Out

6.24.20

The New York Times’s recent “More Than a Meal” series featured essays by renowned writers about memorable meals experienced in restaurants at a time when reminiscing about dining out has been the restaurant goer’s solace. The meals described range from Ruth Reichl writing about a fancy restaurant in Paris, to Samantha Irby writing about the Cheesecake Factory, to Alexander Chee writing about waiting tables at a Theater District restaurant in Manhattan. Write a scene that takes place in a restaurant. Is this the first time your character has dined out in a long time, or does she frequent this establishment every week? What is revealed about her personality or state of mind through her interactions with others in the restaurant?

Writer’s Notes From COVID NOLA: Benjamin Morris

Benjamin Morris is the author of Coronary (Fitzgerald Letterpress, 2011), Hattiesburg, Mississippi: A History of the Hub City (History Press, 2014), and Ecotone (Antenna/Press Street Press, 2017), and the editor or coeditor of four volumes of poetry, fiction, and nonfiction. His work has received academic and creative fellowships from Tulane University and a residency from A Studio in the Woods in New Orleans. You’ll always find him somewhere in New Orleans supporting the literary community.

How has this pandemic impacted you personally and professionally?
In a word: multiply. During lockdown I’ve been grateful to stay healthy, but even having avoided the virus thus far, it’s hard to avoid that gnawing feeling of anxiety over so many everyday activities: It seems like everything we do now is laced with tension. That’s the strangest thing; because the virus could be anywhere, it’s everywhere. Every public move you make is a risk calculation. That said, like many folks here and across the country, I’ve taken a punch to the fiscal gut. Early on in the outbreak my hours at my day job were cut in half, and every gig, reading, and appearance I had planned since February has been canceled. Last month, I was supposed to give a lecture on trends in contemporary Mississippi poetry to the Mississippi Poetry Society, which has now been rescheduled for 2023. It’s not been easy.

What books are you reading while quarantined?
I’ve just finished The Everlasting by Katy Simpson Smith, which came out in March (so go buy it!). The novel is set in Rome, Italy, over four different time periods, following a structure not unlike David Mitchell’s Cloud Atlas. Not only is it a gorgeous book in its own right, but mentally traveling through time and space has been an ideal antidote for the malaise of quarantine. Next up is poetry—I’ve got a stack of books from past presenters at the New Orleans Poetry Festival, such as Henk Rossouw’s Xamissa and Lee Ann Brown’s Polyverse. And just before Mardi Gras, a friend gave me a first edition of C. D. Wright’s Rooms Rented by a Single Woman published by Lost Roads Press—what a gift!

If you knew five months ago what you know now, how would you have prepared for this moment?
More exercise equipment! I’ve long held that the gym is like church for the body, and outside of church it remains the single best place to boost mental health. I was underprepared with gear when the outbreak broke out (apologies for the chiasmus), and have had to cobble together different implements since. Believe it or not, you can do more cardio with a rake than you think.

Have you attended or participated in any virtual readings? Is it here to stay or do you prefer to return to in person readings?
When we voted to cancel the 2020 New Orleans Poetry Festival, it was one of the most difficult decisions our board had ever faced. A small salve for the wound was our attempt over the original festival weekend to curate a virtual fest, soliciting videos of readings, panels, tributes, and odes to the kitchen sink—my own submission features a guest appearance from my cat. They’re all up on the festival’s website and I couldn’t be more grateful to everyone who made it happen. But no, to my mind, virtual readings versus in-person events are like how Wynton Marsalis once compared listening to a CD versus going to a live performance: like looking at a picture of a steak.

What’s your hope for New Orleans during and after this pandemic?
One thing that has moved me these last few months is the outpouring of simple kindness from our citizenship. Like many have said—most recently Maurice Ruffin in the New York Times—in some ways this is like Katrina all over again. I well remember from those years the shared recognition that just about everyone you encounter on a given day—friend, family, stranger—is suffering from untold depths of stress, and a little extra patience, tolerance, and consideration can be the difference between a day they survive and a day they don’t. It’s like that all over again. My hope for the city is that we recognize the fragility of all our relationships, even transitory ones, and allow such gentleness and tenderness to reenter civic life for good.

Benjamin Morris. (Credit: David G. Spielman)
 
Kelly Harris is the literary outreach coordinator for Poets & Writers in New Orleans. Contact her at NOLA@pw.org or on Twitter, @NOLApworg.

Bugs Up Close

6.23.20

When’s the last time you took a really close look at an insect? In Aliens Among Us: Extraordinary Portraits of Ordinary Bugs (Liveright, 2020), photographer Daniel Kariko uses a scanning electron microscope and a stereo microscope to present extreme close-up photographs of insects—beetles, flies, centipedes, bees, wasps. Browse through some of Kariko’s photos, and write a poem inspired by the surprising details you discover in these portraits. Focus on reflecting texture, color, and the form and function of insect bodies into the fabric of your poem.

Upcoming Contest Deadlines

Close out the month by submitting to contests with deadlines of June 30 or July 1. These national and international awards are given for poetry, fiction, nonfiction, and hybrid work. All offer cash prizes ranging from $1,000 to as much as $100,000.

Autumn House Press Literary Prizes: Three prizes of $1,000 each and publication by Autumn House Press are given annually for a poetry collection, a book of fiction, and a book of creative nonfiction. Each winner also receives a $1,500 travel and publicity grant. Ilya Kaminsky will judge in poetry, Dan Chaon will judge in fiction, and Jaquira Díaz will judge in nonfiction. All entries are considered for publication. Deadline: June 30. Entry fee: $30.

Claremont Graduate University Kingsley & Kate Tufts Poetry Awards: The $100,000 Kingsley Tufts Poetry Award is given annually to honor a book of poetry by a midcareer U.S. poet. The winner spends one week in residence at Claremont Graduate University in California. The $10,000 Kate Tufts Discovery Award is given annually to honor a first book of poetry by “a poet of genuine promise.” Deadline: July 1. Entry fee: none.

Feminist Press/TAYO Literary Magazine Louise Meriwether First Book Prize: A prize of $5,000 and publication by the Feminist Press is given annually for a debut book of fiction or narrative nonfiction by a woman of color or a nonbinary writer of color. Deadline: June 30. Entry fee: none.

Finishing Line Press New Women’s Voices Chapbook Competition: A prize of $1,000 and publication by Finishing Line Press is given annually for a poetry chapbook by a woman who has not yet published a full-length collection. Leah Maines will judge. Deadline: June 30. Entry fee: $16.

Futurepoem Other Futures Award: A prize of $1,000, publication by Futurepoem, and 25 author copies will be given annually for a book of poetry, fiction, nonfiction, or hybrid-genre work. The editors will judge. Deadline: July 1. Entry fee: $28.

Hidden River Arts William Van Wert Memorial Fiction Award: A prize of $1,000 and publication in Hidden River Review of Arts & Letters is given annually for a short story or a novel excerpt. Deadline: June 30. Entry fee: $17.

Nuclear Age Peace Foundation Barbara Mandigo Kelly Peace Poetry Award: A prize of $1,000 and publication on the Nuclear Age Peace Foundation website is given annually for a single poem that explores “positive visions of peace and the human spirit.” Deadline: July 1. Entry fee: $15.

The Moth International Short Story Prize: A prize of €3,000 (approximately $3,364) is given annually for a short story. A prize of a weeklong retreat at Circle of Missé in Missé, France, with a €250 (approximately $281) travel stipend, and a prize of €1,000 (approximately $1,122) are also given. The winners will all be published in the Moth. Mark Haddon will judge. Deadline: June 30. Entry fee: €15 (approximately $17).

University of North Texas Press Katherine Anne Porter Prize: A prize of $1,000 and publication by University of North Texas Press is given annually for a collection of short fiction. Deadline: June 30. Entry fee: $25.

University of Pittsburgh Press Drue Heinz Literature Prize: A prize of $15,000 and publication by University of Pittsburgh Press is given annually for a collection of short fiction. Writers who have published at least one previous book of fiction or a minimum of three short stories or novellas in nationally distributed magazines or literary journals are eligible. Deadline: June 30. Entry fee: none.

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

Inner Interrogation

6.18.20

Inside the Actors Studio, hosted for twenty-two seasons by the late James Lipton, began as a craft seminar for students of the Actors Studio Drama School at Pace University in New York. Now a well-known network television show, famous actors, writers, and directors are interviewed, and a questionnaire is submitted to the guest. This list of ten questions, meant to reveal deep truths about one’s psychology, includes: “What is your favorite curse word?” “What sound or noise do you hate?” and “If heaven exists, what would you like to hear God say when you arrive at the pearly gates?” Write an essay in which you explore one or more of these queries. Are there any misconceptions about yourself revealed in the process?

Thirty-Six Questions

6.17.20

For what in your life do you feel most grateful? What is your most terrible memory? What, if anything, is too serious to be joked about? In a 1997 study in the Personality and Social Psychology Bulletin, psychologist Arthur Aron along with scholars Edward Melinat, Elaine N. Aron, Robert Darrin Vallone, and Renee J. Bator developed thirty-six questions that supposedly lead to accelerated intimacy between two strangers. Write a story in which two strangers stuck together for a set amount of time decide to ask each other some of these questions. Is it by accident? Does one of them have designs on the other? Do the questions succeed in breaking down emotional barriers or lead to unexpected consequences?

Editor’s Note: In an earlier version of this prompt, we neglected to include information about Elaine Aron’s professional qualifications as well as the other scholars involved in the study; the prompt has been updated to include this information.

COVID Vivid Interview: Katherine Hoerth

Hey mi gente, glad you could stop in for a little post about what’s been happening here in Houston. Summer is here and I wanted to take a moment to talk to some writers in my city and see how they have been spending their time during the lockdown due to the COVID-19 pandemic. For this series of posts, I posed one simple question to these writers:

What have you been doing since the pandemic started?

So first off, we begin with Katherine Hoerth. The author of several poetry collections, including Goddess Wears Cowboy Boots, which won the Helen C. Smith Prize for the best book of poetry in Texas in 2015, Hoerth is an assistant professor of English at Lamar University and serves as editor-in-chief of Lamar University Literary Press. This fall, her collaborative poetry collection Borderland Mujeres will be published by SFA Press. The book is a bilingual collection of feminist poetry and art created with poet Julieta Corpus and artist Corinne McCormack-Whittemore.

Here is Hoerth’s response:

“When the pandemic started, I was just getting off for my spring break; I never would have imagined what would unfold in the coming weeks and months, and that I would never see many of my graduating students again. Alas, I have been hunkered down at home with my cats but in good health and spirits, and I've been writing new poetry, Zooming with students, workshopping online, and participating in virtual poetry readings such as Houston’s Public Poetry reading series to share my latest poems. For National Poetry Writing Month (NaPoWriMo), I participated in the 30/30 challenge to write a poem a day on my blog, and I felt compelled to write about the pandemic just as a means of recording the experience. Two of my pandemic poems have found homes in TEJASCOVIDO, a blog curated by Angelo State University English professor Laurence Musgrove. Thankfully, I am still able to work remotely for Lamar University Literary Press, and my coeditor Daniel Valdez and I will be spending much of the summer putting together a new anthology of eco-poetry from the Texas Gulf Coast titled Odes and Elegies. What I miss most dearly is attending poetry readings in person—I long for the camaraderie of my fellow Southeast Texas poets, and I look forward to the day when we can share a mic once again.”

Katherine Hoerth with her cats. (Credit: Katherine Hoerth)
 
Lupe Mendez is the literary outreach coordinator for Poets & Writers in Houston. Contact him at Houston@pw.org or on Twitter, @houstonpworg.

Attractions

6.16.20

“If we study what we are attracted to, tease out the correspondences, follow the connections, and find the parallels, we make something new—something that speaks to a shared past and idiosyncratic present,” writes Emily LaBarge in a Bookforum review of Moyra Davey’s new essay collection, Index Cards (New Directions, 2020). Write a poem that revolves around a selection of everyday objects that you feel inexplicably drawn to, perhaps a particular pencil or spoon, a favorite mug or lamp, a preferred toothbrush or view from a window. What connections or parallels can you draw between them? How do they exist in harmony or tension with each other? 

Upcoming Contest Deadlines

Pass the early days of summer by submitting to contests with a deadline of June 15. These poetry, fiction, and nonfiction awards include a special opportunity for writers in Maryland and several small press awards. All offer a cash prize of $1,000 or more.

Bitter Oleander Press Library of Poetry Book Award: A prize of $1,000 and publication by Bitter Oleander Press is given annually for a poetry collection. Entry fee: $28.

New American Press Fiction Prize: A prize of $1,500, publication by New American Press, and promotional support is given annually for a book of fiction. Nick White will judge. Entry fee: $25.

Towson University Prize for Literature: A prize of $1,000 is given annually for a book of poetry, fiction, or creative nonfiction by a current resident of Maryland who has lived in the state for at least three years. Books published within the past three years or scheduled for publication in 2020 are eligible. Entry fee: none.

University of Akron Press Akron Poetry Prize: A prize of $1,500 and publication by University of Akron Press is given annually for a poetry collection. Additional manuscripts may also be considered for publication in the series. Philip Metres will judge. Entry fee: $25.

Willow Springs Books Spokane Prize for Short Fiction: A prize of $2,000 and publication by Willow Springs Books is given annually for a short story collection. Entry fee: $27.50.

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

A Sense of History

6.11.20

“If you’re like me, you may have a tendency to skim over historical passages,” writes Layli Long Soldier in a recent Literary Hub essay about instincts, memory, and the violent history of the United States. “I don’t know why I do this and I don’t like my habit. But I ask you, warmly, to return to accounts from our Lakota ancestors, quoted previously. Take your time. Because, in their words, you may sense an old, yet very present energy.” Begin with a bit of research into a historical event connected to your personal history, taking care to think about the contexts and biases present in any history. Write an essay that allows for gaps, contradictions, and memories to seep in, as you use your instincts to draw connections between the past, present, and yourself. What can you discover or sense when you take your time with a historical text? 

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