Genre: Poetry

Something Missing

12.31.24

In her 2022 New York Times essay “The Shape of the Void: Toward a Definition of Poetry,” Elisa Gabbert writes about what makes language poetic. “I think poetry leaves something out,” she writes. “The missingness of poetry slows readers down, making them search for what can’t be found.” Write a poem that revolves around this idea of missingness and leaving something out. To facilitate a mindset of absence, you might choose a subject—a childhood memory, a relationship dynamic, a strange occurrence—that feels inherently cryptic, incoherent, or mysterious. Consider playing with line breaks, spacing, syntax, and diction, to make what’s absent hyper-present. How do the words on the page gesture toward the shape of what can’t be found?

Well Versed With Pádraig Ó Tuama

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In this virtual reading from the Well Versed series hosted by StAnza, Scotland’s International Poetry Festival, and Open Book, Pádraig Ó Tuama reads from his collection Feed the Beast (Broken Sleep Books, 2022) and discusses the themes of place and nature within his poems. Ó Tuama’s fourth poetry collection, Kitchen Hymns (Copper Canyon Press, 2025), is featured in Page One in the January/February issue of Poets & Writers Magazine.

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On Repeat

12.24.24

In Solvej Balle’s On the Calculation of Volume, a septology whose first two books translated from the Danish by Barbara J. Haveland were published in November by New Directions, the protagonist is an antiquarian bookseller residing with her husband in France, who suddenly begins reliving the same day over and over again—a mysterious and seemingly endless predicament that creates a spectrum of conflicts in her life. Write a poem that imagines this Groundhog Day premise. Choose a particular day in your life that’s significant to you, and then write into the possibilities and quandaries that arise as the same day, and same actions, recur endlessly. In your imagination, what transpires when you know exactly what will happen each day while everyone else around you repeats their steps? How can you play with replicating the repetition in verse form?

“a good deed is done for no good reason” by Aziza Barnes

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In this 2015 Page Meets Stage event, Aziza Barnes reads “a good deed is done for no good reason,” which appears in their debut poetry collection, i be, but i ain’t (YesYes Books, 2016). “You allow yourself to become whatever these hands will make you,” writes Barnes. The award-winning poet and playwright died at the age of thirty-two on December 15, 2024.

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Darius Atefat-Peckham and Raisa Tolchinsky

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In this Grolier Poetry Book Shop reading, Darius Atefat-Peckham reads from his debut collection, Book of Kin (Autumn House Press, 2024), and Raisa Tolchinsky reads from her debut collection, Glass Jaw (Persea Books, 2024). Atefat-Peckham is featured in “The Luminous Life: Our Twentieth Annual Look at Debut Poets” in the January/February issue of Poets & Writers Magazine.

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Writing Personal and Collective Histories

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In this Brooklyn Book Festival virtual event, authors Hisham Matar, Rania Mamoun, and Omar Khalifah talk about the purpose and urgency of writing about history during times of crisis in a conversation moderated by writer and translator Yasmin Seale. Khalifah’s novel, Sand-Catcher (Coffee House Press, 2024), is featured in Page One in the January/February issue of Poets & Writers Magazine.

The Weight of Words

12.17.24

“I caught this morning morning’s minion, king- / dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding / Of the rolling level underneath him steady air,” begins Gerard Manley Hopkins’s 1877 poem “The Windhover,” a sonnet in which the poet wields the image of a kestrel in flight to explore his conflicted feelings about spirituality and art. The beginning lines of the poem are filled with repetition—of words, alliteration, consonance, and assonance—all of which place a weight onto the words, slowing the pace as one reads it aloud. Try your hand at weighing down the beginning of a new poem with repetition, using a variety of rhymes and sound. After a leisure beginning, does your poem suddenly break free and open, or is it more gradual?

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