Jump to navigation Skip to content
"I think ritualizing the act of writing is extremely dangerous to being a writer, because it's really easy to make the ritual the art, and you don't even notice it." Shane McCrae talks with fellow poet Dora Malech about tradition, accesibility, and process for Iowa City's Little Village magazine. McCrae's poetry collection The Animal Too Big to Kill (Persea Books, 2015) is featured in Page One in the January/February issue of Poets & Writers Magazine.
Natalie Scenters-Zapico reads "Sonnet for Your Nerves" for the Buttered Toast Reading Series in El Paso, Texas. Her debut collection, The Verging Cities (Center for Literacy Publishing, 2015), explores the relationship between the border cities of El Paso and Juarez. Scenters-Zapico is one of the debut poets featured in "Fractures Through Time" in the January/February issue of Poets & Writers Magazine.
Rickey Laurentiis reads "Black Iris" from his poetry collection, Boy With Thorn (University of Pittsburgh Press, 2015), winner of the 2014 Cave Canem Prize. Laurentiis is one of the debut poets in "Fractures Through Time" in the January/February issue of Poets & Writers Magazine.
"One of the wonderful things about poetry is that your body is the vehicle for its creation or expression." Jonathan Fink discusses his debut poetry collection, The Crossing (Dzanc Books, 2015), and touches on building a manuscript, the merits of poetic form, and the role of the poet in the twenty-first century. Fink is one of the debut poets featured in "Fractures Through Time" in the January/February issue of Poets & Writers Magazine.
"When I hang in the air it will be by popular demand." Brett Fletcher Lauer reads some of his poems, along with Christopher Sindt, at St. Mary's College. Lauer's new memoir, Fake Missed Connections: Divorce, Online Dating, and Other Failures (Soft Skull Press, 2016), is featured in Page One in the January/February issue of Poets & Writers Magazine.
"A storm and so a gift. / Its swift approach / lifts gravel from the road." Phillip B. Williams reads his poem "Speak," originally published in Poetry magazine in 2013. Williams's debut collection, Thief in the Interior (Alice James Books, 2016), is featured in Page One in the January/February issue of Poets & Writers Magazine.
This week, write a pantoum, a modern verse form adapted from traditional Malaysian folk poetry that uses repeated lines throughout a series of quatrains. How does the repetition of words influence the mood or pacing of your poem? Allow the repeated phrases to take on different meanings as the contexts shift throughout the piece. Refer to the Academy of American Poets website for details and examples of pantoums.
Our eleventh annual Debut Poets roundup highlights ten of the most exciting and inspiring first books of poetry published in 2015.
Jynne Dilling Martin’s poetry has appeared in Granta, the New York Review of Books, the Believer, Slate, Ploughshares, the Boston Review, and on the PBS NewsHour with Jim Lehrer, among other places. Her nonfiction has appeared in Glamour, Food & Wine, and the Antarctic Sun. She was a Yaddo fellow and the National Science Foundation’s 2013 Antarctica Writer in Residence. Martin lives in New York City and is the associate publisher of Riverhead Books, an imprint of Penguin Random House. She is the author of the poetry collection, We Mammals in Hospitable Times, published by Carnegie Mellon University Press in February 2015.
What do you do to get inspired? I read peculiar ephemera, old journals, and catalogues. The series on deaths in U.S. national parks is up next on my list!
What are your reading dos? I’m a big fan of readings that are short on reading and long on conversation. Anyone who has attended a David Mitchell reading knows already that the most delightful parts are the very long digressions, jokes, and personal revelations that he inserts at random while reading to you. It feels like you’re having a slumber party with a very dear friend. I aspire to that level of connection, surprise, and warmth.
…and your reading don’ts? Don’t arrive drunk. Don’t arrive sober either. Don’t forget to bring your book, it’s not fun watching people awkwardly read off of their phone, and seems to happen more and more often. Don’t apologize. Don’t turn as bright red as I do. And don’t forget to thank everyone, like the Roerich Museum and Poets & Writers and your introducer by name, who offered this lovely opportunity.
What’s the most memorable thing that’s happened at an event you’ve been part of? I’m honored to have read jointly with Phil Klay at one of the first readings he ever gave, when his story “Redeployment” was in a 2011 issue of Granta, alongside one of my poems. He blew me, and all of BookCourt, out of the water. I feel lucky that I got to know his work so early, and it’s been a joy to watch him find such an enormous readership in the years since.
How does giving a reading inform your writing and vice versa? Writing is such a solitary act, so the few readings I do each year constitute the rare times I am forced out of my shell and into direct engagement with readers about my poems. It’s so meaningful to find that there is a thoughtful, receptive, interested readership for poetry out there.
What do you consider to be the value of literary programs for your community? To engage with literature is an enormously empathic act, the act of inhabiting the emotional landscape and values of another; and right now, it feels more urgent than ever to have our horizons broadened, and to better understand each other on this planet. I am so grateful for institutions like Poets & Writers that nurture and sustain a community of expression, connection, and literary community.
What you probably spent your R/W grant check on: A month of lattes from Hungry Ghost.
Photo: Jynne Dilling Martin. Photo Credit: Adrian Kinloch.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 A.K. Starr Charitable Trust, and the Friends of Poets & Writers.
"Poetry can change Detroit." Students and their mentors speak about InsideOut, Detroit's largest literary arts nonprofit, which invites poets into the city's public schools. The organization celebrated its twentieth anniversary in 2015 and has reached over fifty thousand students.
