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“Your buttons can’t hold all the love / rippling up the middle of your ribcage…” José Olivarez reads his poem “You Get Fat When You’re in Love” from his debut poetry collection, Citizen Illegal (Haymarket Books, 2018). Olivarez is featured in “Wilder Forms: Our Fourteenth Annual Look at Debut Poets” in the January/February 2019 issue of Poets & Writers Magazine.
A six-day festival in Elko, Nevada, featuring poetry, music, dancing, storytelling, and folk art, celebrates its thirty-fifth anniversary.
Ten poets whose first books were published in 2018, including Justin Phillip Reed and Tiana Clark, share their inspirations, processes, writer’s block remedies, and paths to publication.
Joshua Idaszak is the winner of Poets & Writers’ 2018 Maureen Egen Writers Exchange Award (WEX) for fiction. His stories have appeared in Ploughshares, the Kenyon Review, TriQuarterly, and elsewhere. His fiction has won Boulevard magazine’s 2015 Short Fiction Contest for Emerging Writers, was a finalist for the 2015 Chicago Tribune Nelson Algren Award, and has been listed as distinguished by Best American Mystery Stories 2017. Idaszak received an MFA from the University of Arkansas, and has received support from the Fulbright Program and the Sewanee Writers’ Conference. He lives in Massachusetts and is at work on a story collection and a novel.
It was a misty, cool morning in May when I heard from Bonnie Rose Marcus that I had won the 2018 Maureen Egen Writers Exchange Award for fiction. I had just emerged from two days on the Lost Coast Trail and was standing in a small beachside parking lot in Shelter Cove, California, a town made famous (to me, at least) by the opening of Denis Johnson’s novel Already Dead. I had just completed my MFA from the University of Arkansas after four years in Fayetteville, teaching, studying, and writing fiction. I was in the midst of determining what came next—for my writing, for my life—when I listened to Bonnie’s voicemail.
Manhattan is not Shelter Cove. In place of redwoods were skyscrapers, and we were ascending them. Bonnie, director of Readings & Workshops (East) and the Writers Exchange, was our fearless leader. She shepherded Anushah Jiwani, the winner for poetry, and me around Manhattan for four days of meetings with agents and editors and poets and publishers.
At Penguin, we met Lee Boudreaux and asked about editing Ben Fountain’s fiction. At Ecco, Megan Lynch talked about Deborah Eisenberg’s short story collection Your Duck Is My Duck, and how a book and its cover come together. Jonathan Galassi of FSG recalled his time studying poetry under Elizabeth Bishop and Robert Lowell. I had carried poet Charles Wright’s Negative Blue during my Lost Coast walk, and I was excited to hear that FSG would be publishing Oblivion Banjo, a compendium of his work, next spring. Cheryl Boyce-Taylor, this year’s poetry judge for WEX, helped us celebrate at a wonderful dinner with our families after our Sunday reading at McNally Jackson in Soho.
Writing is solitary work. The drafting and revision often happen in quiet rooms, often alone. It can feel, sometimes, like we’re plucking the strings of our very own oblivion banjo. It was a joy to step outside of that: to sit across from Brigid Hughes and hear about her work to create space and time for writers through the fellowships and residencies of A Public Space, to hear Emily Nemens speak about her plans for the Paris Review, or to discuss possibilities for invigorating public readings with Sarah Gambito.
The trip was a reminder (or rather a series of reminders) that there are so many of us engaged in this calling. That we love books, love reading, love watching people and thoughts rise in language. And ultimately, that our work is vital, and always ongoing.
The Maureen Egen Writers Exchange Award is generously supported by Maureen Egen, a member of the Poets & Writers Board of Directors.
Photo: Joshua Idaszak, Cheryl Boyce-Taylor, and Anushah Jiwani (Credit: Christian Rodriguez).“Does a voice have to be auditory to be a voice? / where in the body does hearing take place? / which are the questions that cannot be addressed in language?” Jen Hofer has said that her poem “future somatics to-do list,” which is composed as a list of questions, is “a poem that is a to-do list that is a poem.” Write a poem that consists of a series of questions, all revolving around one topic or concern. In what ways do the types of questions, and their progression, reveal both your current state of mind and your hopes for the future?
“Be very patient, even patient with chaos,” Lydia Davis advises writers in this compilation of interviews by Louisiana Channel. Seasoned writers from around the world, including Alaa Al Aswany, Umberto Eco, Richard Ford, Patti Smith, and Ngũgĩ wa Thiong’o, also offer their thoughts on how to keep writing.
Gwydion Suilebhan announced as PEN/Faulkner Foundation’s new executive director; Russian writer Andrei Bitov had died; Joyce glasses and Yeats book fetch high prices at auction; and other news.
“I’ve claimed these lives, I’ve claimed these fables, but I made them into my own.” Carly Joy Miller reads from her poetry collection, Ceremonial (Orison Books, 2018), and speaks with Lisa Grove about the use of persona in her work for this Poetry.LA interview.
Teju Cole joins Harvard creative writing faculty; Ingram rumored to make bid to buy Baker & Taylor retailing arm; New Yorker and Vulture critics share their favorite books of 2018; and other news.
“In the beginning we were one blood. / Then the body, stem of thorns, grew / its disagreement from the inside / out.” In this Motionpoems film directed by Tom Speers, Peter LaBerge’s poem “Boy Saint” is narrated by Michael McElhatton. LaBerge is the editor in chief of the Adroit Journal and the author of the chapbook Makeshift Cathedral (YesYes Books, 2017).
