This is my third publication with Big Pulp, and I was happy to work with Bill Olver again. He's top-rate. They've even made an author page just for me. Awesome. :)
The Rabbit (2013)
Palestine, IL (2010)
Every Good Girl Does Fine (2008)
Saturday, March 30, 2013
"The Rabbit" in Big Pulp Spring 2013
This is my third publication with Big Pulp, and I was happy to work with Bill Olver again. He's top-rate. They've even made an author page just for me. Awesome. :)
Wednesday, March 13, 2013
Photographer on Focus: Anka Zhuravleva
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| photograph by (c) Anka Zhuravleva, all rights reserved by photographer |
I don't know how I came across Anka Zhuravleva's photographs, but I did recently, and I think we have a similar vision of the world. Or, at least, I recognize in her vision something of my own. I suppose that's one sign of a great artist . . . making it sort of impossible for anyone not to see themselves in the vision.
In her bio, she notes the deaths of her parents, within two years of each other, when she was a young woman. Perhaps, then, that's what I share with her. Perhaps there's something that happens, when that happens, if it happens at just the right time in a persons's life, and that person already had tendencies to imagine herself away. . . Maybe that's what I see in her work that makes it seem to me that she has shown me a photograph she took of my nightmare last night, and of my dream by day.
Regardless, her work has a disjointedness about it that I enjoy. The way she shows the impossibility of reality by showing what it can't do. To show how impossibly grounded the world is by showing the wishes. To show the limits of the body by showing images of the body in motion, the body outside of gravity, the body moved by the unseen that isn't. The photograph's attempt to capture the can't-be, as though it did catch it, like you will hear suddenly the voice of a long-dead friend saying your name, and you turn to it and find you'd heard the voice through your mind and not through your ear. And then you remember why and see that you're still standing in the world, somehow, and on your way to whatever task you have.
I think one of the great things about Zhuravleva's work is that, unlike the typical visions we're given of impossible worlds (the romantic comedy, for example, or most anything on TV) is that she's asking us to ache for the can't-be rather than pretending that the can't-be can. She provides longing for us, and lets us both feel it and think about it. Her photographs don't say, Here is a fantasy for you to escape your life by living. Her photographs don't say, Fantasy is better than reality, and so despise your reality now that it isn't like what you can imagine. Her photographs say, Look, look what I found for you, look at the impossibility of beauty through its impossibility.
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| photograph by (c) Anka Zhuravleva, all rights reserved by photographer |
This especially becomes interesting when even scrolling down her Facebook page, for there is a mix of the obviously fantastical photographs with straight-eyed head shots, or a woman sitting at a table and not, as in another photograph, floating into the room. And so the bleed-over from the fantastical photographs onto the more realistic photographs begins a deeper narrative about the real. For suddenly, I think, the viewer begins to see the woman floating while being trapped inside the gaze of a woman who stares out, daring us to look away, to float away, to leave as all people do eventually.
Thursday, March 7, 2013
AWP is in session, 2013 Schedule
So, if you're there, or like me, wish you were there, then you might be interested in looking at the ongoing events. From the official schedule, I've compiled an itinerary for each day of the conference so that you don't have to wrack your brain for what to go to next:
Thursday, February 14, 2013
"The Missing Time" in Lake Effect literary journal
Just a quick announcement that my story "The Missing Time" will be published in Lake Effect, Volume 18 (Spring 2014). This will be my third publication with the journal. The most recent story, "Winter's Wooden Sparrows" is presently nominated for a Pushcart, and the first story they took was "Digging," one of the stories in The Floating Order.
Tuesday, February 12, 2013
Countdown to AWP 2013: If you were me on March 9
We're on the third installment of the series, which brings us to Saturday, March 9, the last day of AWP. The last day of any conference is tricky because attendees who have been thorough in their attendance begin to suffer fatigue and will be more inclined to spend the last day seeing the sights or making their way to airports because they have 60 papers to grade before Monday. I tend to be one of these people, but if I were feeling especially focused, these are the Saturday events I'd most likely attend. (For the full schedule of Saturday events, click here.)
Saturday, March 9
9:00-10:15 A.M.
"Translating Slippery Dreamers:
French Surrealist Poetry in the Hands of American Authors"
Room 204, Level 2
Summary: The presenters, who are both poets and translators, will talk about the peculiar difficulties in translating aspects of French surrealism into English, such as automatic writing.
Why I would attend: Translation in and of itself has always interested me, especially in terms of what can't be conveyed. I'd be interested in what the particular experience is with surrealism since its expression is already an attempt to defy reality and often visual surrealism is difficult to describe, so I imagine the language of surrealism would be interesting to learn about. Seems like a panel that would be inspiring.
10:30-11:45 A.M.
"Lower Your Standards:
William Stafford in the Workshop"
Room 107, Plaza Level
Presenters: James Armstrong, Philip Metres, Alissa Nutting, Jeff Gundy, Fred Marchant
Summary: The discussion will center on poetry workshop and the classroom experiences these instructors have had in using Stafford's teaching philosophy, and the benefits of integrating this view in the Creative Writing Classroom.
Why I would attend: Any discussion about changing the workshop experience, and hearing other instructors share advice, would be useful now that I'm finding myself on the other side of the desk these days.
Conflict: George Saunders and others will be reading at this panel: "The Lake Effect: A Celebration of Fifty Years of Creative Writing at Syracuse." I've heard Saunders read before, enjoy his work, and would like to hear him read again. (Room 200, Level 2)
Her Language and Craft"
Room 109, Plaza Level
Presenters: Eric Freeze, Aritha van Herk, Anne Shields Giardini, Genni Gunn
Summary: The work of Carol Shields will be discussed, with a special appearance by her daughter.
Why I would attend: Carol Shields is one of my favorite writers--of both short form and novels. Originally from northern Illinois, Carol Shields became a writer later in her life, and by that time was a full-fledged Canadian. Her work shares many Midwestern themes. She died of cancer in the last decade. Oh, and she won the Pulitzer Prize.
1:30-2:45 P.M.
"Countering Stereotypes of Disability through Contemporary Fiction"
Room 107, Plaza Level
Summary: The writers will discuss what it is to write disabled characters, and read from their work.
Why I would attend: I would like to be part of the dialogue and listen to what other writers have encountered.
3:00-4:15 P.M.
It is more than likely that this would be a time to go tour the book fair, or have a sandwich, but in the event that neither seemed a worthwhile pursuit, then I would go to this:
"Salt: The Home of Beautiful Books
An International Reading"
Summary: England-based publisher will showcase readings by some of their writers who live across the globe. And while there is no promise of this, perhaps there will be some discussion about Salt as a publisher since it's a small press and nearly went under a few years back.
Why I would attend: I've been interested in Salt for a while, and would like the opportunity to meet some of the writers. I have a special affinity for writers who aren't from the U.S.
4:30-5:45 P.M.
"Counterpoint Press Reading"
Room 309, Level 3
Summary: The writers published by Counterpoint Press in 2012 will read from their memoirs and novels. The press's editor will reflect on the aspects of each work that drew his attention, and the authors will then discuss what it is to be a Counterpoint author.
Why I would attend: Counterpoint is one of the presses that published Carole Maso, who is one of my favorite writers. The press has a reputation for publishing innovative work, and so I would attend this panel in order to hear what it means to be innovative in Counterpoint's term in this newest of decades.
6:00 P.M. to 8:25 P.M.
As always, I would take this time to myself, but unlike the past two nights in which I scheduled myself nowhere, this night does have an event that I would want to attend:
8:30 P.M. to 10:00 P.M.
Lucie Brock-Broido and Anne Carson"
Hynes Ballroom, Level 3
Summary: Self-explanatory
Why I would attend: Anne Carson is one of my favorite poets. I am always pleased to run across her work, and I would be pleased to listen to her read and converse. She is a brilliant, interesting voice. I don't think she could be a writer who would disappoint in person, or irrevocably change my opinion.
*
What events would you most want to attend on Saturday?
Saturday, February 9, 2013
A Book for a Valentine's Day
I was on the bus, riding it to an important place of trees and turning roads.
This didn't happen, either:
As I stood up when I was supposed to arrive, someone who had been sitting beside me reached out and touched my arm and said, This Valentine's Day, I would like to read a poem that is not a poem and a novel that is not a novel.
Will it hurt you to fall in love with a person who isn't? I said.
Yes.
Do you wish to wish? I didn't ask.
Yes, unsaid the person who wasn't.
Well, I think Ava would be the book.
Tuesday, February 5, 2013
Countdown to AWP 2013: If You were Me on March 8
To see my selections for Thursday's events, see "Countdown to AWP 2013: If You Were Me on March 7." For suggestions on where to stay outside of the conference hotel, since it's booked anyway, see "Youth Hostels in Boston."
Friday, March 8
9:00-10:15 A.M.
"Get a Hold of Your Writing:
Book Arts in the Classroom"
Room 204, Level 2
Presenters: Meryl DePasquale, Emily Brandt, Genevieve Kaplan, Richard Mathews, Carol Ann Johnston
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Provisions by Frances Raven,
the uniquely made and handbound books by Interbirth Books
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Summary: This discussion will revolve around the creation of books, chapbooks, and broadsides and the benefits of teaching book design in the Creative Writing classroom.
Why I would attend: I attempted to have students create an anthology of work that they each selected and then designed. As this was my first time assigning the project, it would be useful to hear other thoughts about the process. Secondarily, I have always had an interested in creating books, from my pre-literate days when my mother made books out of my thoughts. If you haven't, check out these two awesome presses whose books are created by hand: Interbirth Books and Little Red Leaves (especially look at the textile series by LRL).
Conflict: "In Sickness and In Health: Literature at the Intersection of Medicine, Science, and the Arts" (Room 203, Level 2). This would be a difficult panel to miss because it's closer to my interests as a writer and my more recent interests as a reader. Since it's right next door to the other panel, I'd probably have to peek into both rooms before deciding.
10:30-11:45 A.M.
"Art of the Ending"
Writers: Miles Harvey, Amy Hempel, Michele Morano, William Lychack, Scott Blackwood
Summary: The writers will discuss the problematic situation that comes with ending a work, especially in terms of closure and reader wishes.
Why I Would Attend: While I have more trouble with beginnings than endings, one of my professors in college gave several excellent lectures/discussions on endings in short fiction, and ever since then, I have become very vigilant about my endings and the endings of others (in real life and in fiction). And I think there's much about the endings in poetry that fiction can learn from, and so it would be good to listen in on this.
Conflict: "Show and Tell: Audio and Video Production 101" (Room 312, Level 3). It's like a mini-workshop on how to do the basic things that writers often need to do by themselves for online marketing.
Noon-1:15 P.M.
"How to Catch a Pair of Flying Hands:
A Reading by Deaf Writers"
Writers: Raymond Luczak, Kristen Harmon, Allison Polk, Kristen Ringman
Summary: The writers will read their work, but the AWP description makes it unclear whether the writers will discuss their work afterward.
Why I Would Attend: Two of the three essays I teach in English 101 revolve around Deafness, and I'm interested in what works the writers will choose to share since the panel title and AWP description is focused more on the aspect of the writers' deafness than their work.
Conflict: "A Poetry Reading by Four of Ireland's Most Dynamic Younger Poets," Bookfair Stage, Exhibit Hall A, Plaza Level. Of course, it will be a while before I'm in the same room as these people, so this would be my second choice.
1:30-2:45 P.M.
Room 107, Plaza Level
Writers: Marcia Aldrich, Kirstin Scott, Laura Read, Corinna Vallanatos
Summary: Each year AWP holds a writing contest in poetry, short fiction, the novel, and creative non-fiction: The writers who won the 2011 contest had their winning manuscripts in late 2012, and many are on tour for those books right now.
Why I Would Attend: My friend and colleague Laura Read is presenting, and so I would be there.
3:00-4:15 P.M.
"Don DeLillo & Dana Spiotta:
A Reading and Conversation"
Summary: Self-explanatory.
Why I Would Attend: I've read several DeLillo novels, have found all of them interesting, smart, and good, and so I would like to hear his voice through the sentences. He's also going to talk after, and I wonder what he'll say. He writes some of the most fantastic dialogue I've read.
4:30-5:45 P.M.
A Reading and Conversation"
Veterans Memorial Auditorium, Level 2
Summary: Self-explanatory
Why I Would Attend: The first college class I ever skipped was at Columbia College in Chicago. It was a beautiful, sunny day, and even though it was my poetry class, it was a three hour class. I spent the day on the beach of Lake Michigan reading Oranges Are Not the Only Fruit by Jeanette Winterson (a book recommended, in fact, by my poetry instructor). That was one of the most wonderful days of my life.
6:00 P.M. and on
While there are a number of events scheduled after this (many more than on Thursday night), such as a conversation with Richard Russo, but I'd probably have to end my AWP experience for the day and go on a long walk to decompress--especially after having just heard Don DeLillo and Jeanette Winterson back-to-back. To see the complete schedule for Friday, click here. For off-site events, click here.
Stay tuned for my Saturday selections.
What's one of the Friday events that you would have to attend, and why?
Thursday, January 31, 2013
Countdown to AWP 2013: Youth Hostels in Boston
Like most conferences, the AWP conference takes place in one hotel, and attendees are encourages to book their rooms there. Because the AWP conference is so large, there are several associated hotels called "overflow" hotels. All of these are very expensive. The main hotel, Boston Sheraton runs for $259 a night, and up. And while this seems pretty steep to me, especially for MFA students who, even if they have a teaching assistantship, are making about $1,000 a month. Or maybe the starving artist part comes later. Or. . . anyway. The Boston Sheraton, and the "overflow hotels," are already sold out.
So, if you're attending AWP this year, and you are trying to spend as little as possible, here are some other ideas.
Youth Hostels. No, they are not only in Europe. More and more cities have more than one hostel for young-ish travelers, and medium cities are starting to follow suit. Of course, Boston is pretty large, so there are so many choices. They also seem perfect for writers since writing requires absorbing as much of the experience that exists outside of the standardized one.
I've stayed in hostels in Europe and in the U.S. and have found that they always add a more unique experience than the standard hotel room since the hostels encourage discussion among travellers and are often located in neighborhoods, or at least in parts of the city that aren't dedicated only to high-end shopping and chain restaurants. I haven't stayed at the hostels below, but if I were attending AWP this year, I would try to book a room in any of these.
Hostelling International
Here's the situation with staying at Hostelling International:
As of 1/29/13, there are rooms available in the premium and standard dorms for $44.99-$59.99 a night. A private room with a bath is twice as much but $100 less than the Sheraton.
According to their website, to stay at a youth hostel, you need to have a membership, which costs all of $3.
40Berkeley
As of 1/29/13, this is what was available at 40Berkeley, according to their website:
1. Standard Doubles contain two twin-sized beds, a desk, lamp, chair, and night stand. Most rooms include a ceiling fan and either a clothing rack with hangers or a closet. All bathrooms are shared, with both a women's and a men's bathroom on each floor.
2.
So, if you're attending AWP this year, and you are trying to spend as little as possible, here are some other ideas.
Youth Hostels. No, they are not only in Europe. More and more cities have more than one hostel for young-ish travelers, and medium cities are starting to follow suit. Of course, Boston is pretty large, so there are so many choices. They also seem perfect for writers since writing requires absorbing as much of the experience that exists outside of the standardized one.
I've stayed in hostels in Europe and in the U.S. and have found that they always add a more unique experience than the standard hotel room since the hostels encourage discussion among travellers and are often located in neighborhoods, or at least in parts of the city that aren't dedicated only to high-end shopping and chain restaurants. I haven't stayed at the hostels below, but if I were attending AWP this year, I would try to book a room in any of these.
Hostelling International
Here's the situation with staying at Hostelling International:
As of 1/29/13, there are rooms available in the premium and standard dorms for $44.99-$59.99 a night. A private room with a bath is twice as much but $100 less than the Sheraton.
According to their website, to stay at a youth hostel, you need to have a membership, which costs all of $3.
40Berkeley
As of 1/29/13, this is what was available at 40Berkeley, according to their website:
We are currently renovating all of our rooms. During this
transitional period, you may stay in either a renovated or a
non-renovated room.
Click on photo to the right for pictures of both room types.transitional period, you may stay in either a renovated or a
non-renovated room.
| Wed | Thu | Fri |
| $56.00 | $56.00 | $60.00 |
2.
Guests at 40Berkeley also evidently get some additional perks--for free: free breakfast, free Wi-Fi, a free pass to New England Aquarium, Museum of Science, Harvard Museum of Natural History, Prudential Skywalk, Loew’s Boston Common Theatre
Of the three hostels, this hostel has received the best and most consistent reviews via Google. It's also the most inexpensive of the three. As of 1/29/13, this is what was available:
| Room Types | 5th | 6th | 7th | 8th | 9th | No. Of guests |
|---|---|---|---|---|---|---|
| Basic 6 Bed Mixed Dorm | 28.00 | 28.00 | 28.00 | 28.00 | 28.00 | |
| Standard 10 Bed Mixed Dorm | 28.00 | 28.00 | 28.00 | 28.00 | 28.00 | |
| Basic 10 Bed Male Dorm | 28.00 | 28.00 | 28.00 | 28.00 | 28.00 | |
| Basic 10 Bed Female Dorm | 28.00 | 28.00 | 28.00 | 28.00 | 28.00 | |
Tuesday, January 29, 2013
Countdown to AWP 2013: If You Were Me on March 7
What's AWP? Some Background
Every year the Association of Writers and Writing Programs (AWP) holds a four-day conference in a major city in the United States. This year, the conference is in Boston, March 6-9. Around this time, droves of grad students attending MFA programs in fiction, poetry, and non-fiction board planes and smash their backpacks in friends' cars to travel across the country--or, if they live nearby, a few blocks away--to attend the conference.
The other attendees include instructors who teach Creative Writing and/or writers themselves--typically writers who write within the genre known as literary realism. Guest speakers are invited, a book fair of small presses and journals occurs daily, and panels run throughout the morning and afternoon on subjects that range from craft-based discussions, to how-to-improve-the-creative-writing-classroom discussions, to readings by people published by the same press or journal within the previous, or forthcoming, year.
Each hour there are five and ten events occurring, and since a person can't attend every single one of them, I've highlighted one event per scheduled hour that, were I flying 2,768.1 miles to Boston, I would mark off to attend.
Disclaimers:
1) The times, titles, and locations come from the AWP schedule as it was posted 1/28/13. The times, locations, and presenters sometimes change last-minute, so double-check the printed schedule you receive on-site.
2) Often, the titles and descriptions of panels end may not, in reality, match your expectations.
3) In my experience, it is difficult to find a quiet place or room where attendees can decompress by working on their own writing. It is my advice then that attendees find at least three nearby coffee shops where they can go to get away from the hubbub.
Wednesday, March 6
Because Wednesday is mainly dedicated to registration, book-fair set up, and an evening, invitation-only awards event, I likely wouldn't arrive in town until Wednesday night. However, there are a number of interesting off-site events that you should check out if you do arrive on Wednesday.
Thursday, March 7
While there are panels scheduled before nine A.M., I would not be awake enough, or pleasant enough in my mind, to attend. I would likely inadvertently scowl at the presenters, and that wouldn't be very considerate. For the full list of Thursday events, click here.
9:00-10:15 A.M.
Writers Presenting: Anjali Sachdeva, John Crowley, Jane Yolen, Kelly Link, Kate Bernheimer
Summary: Several contemporary writers who retell fairy tales, or fairy-tale-like stories, will discuss "the need for fables in modern society and the literary marketplace" and some of the considerations they take while moving from fable patterns into contemporary fiction.
Why would I attend? I would especially want to attend because the writer Jane Yolen is speaking, and she's a prolific writer of very good children's and young adult books. Her work has also been subject to controversy, and is one of the more censored of our children's authors. Because it's not often that children's authors attend, or speak at, AWP, I would make a point to attend. Also, I feel like it's about time that I meet Kelly Link.
Conflict: One of my very good friends, Jack Kaulfus, is reading from her fiction on the A Cappella Zoo panel, which occurs at the same time. (Room 203, Level 2) It's more than likely that this is the panel I would attend.
10:30-11:45 A.M.
Writers: Tim Trace Peterson, TC Tolbert, Max Wolf Valerio, Dawn Lundy Martin, Trish Salah
Summary: Panel of poets whose work is forthcoming in an anthology by Nightboat Books/Eoagh. Reading followed by a discussion "about how issues of trans and genderqueer embodiment and identification influence writing" and how the writers consider their own bodies in relation to the body of the poem.
Why would I attend? I'm not familiar with any of these writers or the press, and while I haven't attended AWP for a few years, this panel is the first I've seen dealing with this topic, and so I'd be interested to listen and be a part of the discussion since the discussion is important for all writers to think about, especially in terms of how such issues are then imaged in writing (or not). I know that transgender topic panels are not uncommon abroad at Fantasy/Science-Fiction conventions, and so am glad to see this conversation happening within literary realism, too. Would also be a quick, effective way to find some poetry that may be of interest to my own Creative Writing classes.
Conflict: The panel, "Odes, Psalms, and Praise Songs," also seems interesting and is in line with my belief that the writer's role is to be the bard. (Room 206, Level 2.)
Noon to 1:15 P.M.
Writers: Maya Pindyck, Hadara Bar-Nadav, Roger Sedarat, Ofer Ziv, Katayoon Zandvakili
Why I would attend: Besides that it is difficult to find writing in the U.S. in regards to war and so issues of war and the writing of it are high on my radar, I would want to attend because I am damn stupid about the conflict between these countries and completely ignorant about these poets and their work, and so this panel would help to remedy that.
Conflict: Evidently, this is international hour, as several international groups have been scheduled--a problem that doesn't occur in the other times on this day. From Black British Writers to Iranian writers to Ireland's poetry center to Afghan women writers . . . the ability to connect with writers abroad seems broad, but the scheduling makes the reality minimal.
1:30-2:45 P.M.
Summary: The title is so specific that there's really not much more to say. The presenters will discuss how e-book technology will affect how writers tell stories; for example, music is an option on e-books and so might influence how writers present their texts. (Or should such possibilities affect the story?--Seems like a question that will come up, or should be brought up.)
Presenters: Laurie A. Jacobs, Rubin Pfeffer, Jean Heilprin Diehl, Emilie Boon, Julie Hedlund
Why would I attend? As a self-professed luddite, I'm always interested in discussions regarding the relationship between technology and storytelling. I'm especially interested in this in regards to children's literature because many children's books are pretty expensive and, as such, tend to exclude people in the lower class. Therefore, in thinking about children's literature via very expensive E-readers is especially intriguing. That the authors mainly write very young children's books, the conversation might be more or less interesting.
Conflict: By this point in the day, had I attended all of the previous panels, I would be really thinking about taking a break to look through the book fair or have a glass of wine with friends I haven't seen in a long time.
3:00-4:15 P.M.
Summary: Rudin will discuss the role his publishing house plays in America's literary canon.
Why I would attend: I'm interested in the influence a publisher has in shaping the voice of a country and how changing perceptions of a country's identity function to change both the way writers approach their subject but also how publishers consider or reconsider certain writers as more or less authentic--especially when publishing is also driven by economic forces as much as historical preservation. It would also be good to witness how the publisher himself seems to be thinking of it. And since it's likely that a number of publishers will be attending this, I would want to hear what they're hearing.
Conflict: None. I'd just have to go to this one.
4:30-5:45 P.M.
Summary: Non-fiction essayists read from their work and discuss the effects war had on their childhoods, or at least on the writing of their childhoods.
Presenters: J.L. Powers, Peauladd Huy, David Griffith, Aria Minu-Sepehr, Marnie Mueller
Why I Would Attend: While I typically anti-gravitate toward non-fiction, the two subjects here trump my typical interests, and I'm interested in hearing the stylistic choices the writers made in how they presented the content.
Conflict: It's late in the day, and I would be very aware of the growing number of people gathering in the bar area to relax and discuss their thoughts about the day. The reality would likely be that the previous panel got me to thinking so much that I would want to go find Jack Kaulfus and talk to her about it. She always has smart things to say about, well, everything, really.
Every year the Association of Writers and Writing Programs (AWP) holds a four-day conference in a major city in the United States. This year, the conference is in Boston, March 6-9. Around this time, droves of grad students attending MFA programs in fiction, poetry, and non-fiction board planes and smash their backpacks in friends' cars to travel across the country--or, if they live nearby, a few blocks away--to attend the conference.
 |
Irish Poet and Nobel Prize winner Seamus Heaney,
One of the Keynote Speakers at AWP 2013
|
Each hour there are five and ten events occurring, and since a person can't attend every single one of them, I've highlighted one event per scheduled hour that, were I flying 2,768.1 miles to Boston, I would mark off to attend.
Disclaimers:
1) The times, titles, and locations come from the AWP schedule as it was posted 1/28/13. The times, locations, and presenters sometimes change last-minute, so double-check the printed schedule you receive on-site.
2) Often, the titles and descriptions of panels end may not, in reality, match your expectations.
3) In my experience, it is difficult to find a quiet place or room where attendees can decompress by working on their own writing. It is my advice then that attendees find at least three nearby coffee shops where they can go to get away from the hubbub.
Wednesday, March 6
Because Wednesday is mainly dedicated to registration, book-fair set up, and an evening, invitation-only awards event, I likely wouldn't arrive in town until Wednesday night. However, there are a number of interesting off-site events that you should check out if you do arrive on Wednesday.
Thursday, March 7
While there are panels scheduled before nine A.M., I would not be awake enough, or pleasant enough in my mind, to attend. I would likely inadvertently scowl at the presenters, and that wouldn't be very considerate. For the full list of Thursday events, click here.
9:00-10:15 A.M.
"Modern Fairy Tales and Retellings"
Room 107, Plaza Level
Summary: Several contemporary writers who retell fairy tales, or fairy-tale-like stories, will discuss "the need for fables in modern society and the literary marketplace" and some of the considerations they take while moving from fable patterns into contemporary fiction.
Conflict: One of my very good friends, Jack Kaulfus, is reading from her fiction on the A Cappella Zoo panel, which occurs at the same time. (Room 203, Level 2) It's more than likely that this is the panel I would attend.
10:30-11:45 A.M.
Poetry Reading for Troubling the Line:
Trans and Genderqueer Poetry and Poetics
Room 310, Level 3
Writers: Tim Trace Peterson, TC Tolbert, Max Wolf Valerio, Dawn Lundy Martin, Trish Salah
Summary: Panel of poets whose work is forthcoming in an anthology by Nightboat Books/Eoagh. Reading followed by a discussion "about how issues of trans and genderqueer embodiment and identification influence writing" and how the writers consider their own bodies in relation to the body of the poem.
Why would I attend? I'm not familiar with any of these writers or the press, and while I haven't attended AWP for a few years, this panel is the first I've seen dealing with this topic, and so I'd be interested to listen and be a part of the discussion since the discussion is important for all writers to think about, especially in terms of how such issues are then imaged in writing (or not). I know that transgender topic panels are not uncommon abroad at Fantasy/Science-Fiction conventions, and so am glad to see this conversation happening within literary realism, too. Would also be a quick, effective way to find some poetry that may be of interest to my own Creative Writing classes.
Conflict: The panel, "Odes, Psalms, and Praise Songs," also seems interesting and is in line with my belief that the writer's role is to be the bard. (Room 206, Level 2.)
Noon to 1:15 P.M.
Reduced to I:
Israeli and Iranian Poets
Room 108, Plaza Level
Writers: Maya Pindyck, Hadara Bar-Nadav, Roger Sedarat, Ofer Ziv, Katayoon Zandvakili
Summary: Poets will read from their writing. The official description suggests that there will be discussion, possibly in regards to the effects war, the language of war, and the conflict between the countries have on the poet experience.
Why I would attend: Besides that it is difficult to find writing in the U.S. in regards to war and so issues of war and the writing of it are high on my radar, I would want to attend because I am damn stupid about the conflict between these countries and completely ignorant about these poets and their work, and so this panel would help to remedy that.
Conflict: Evidently, this is international hour, as several international groups have been scheduled--a problem that doesn't occur in the other times on this day. From Black British Writers to Iranian writers to Ireland's poetry center to Afghan women writers . . . the ability to connect with writers abroad seems broad, but the scheduling makes the reality minimal.
1:30-2:45 P.M.
Picture Book Writers in an E-Book and App Era:
How Can Writers Change the Way We Envision Story to Take Advantage of New Technology?
Room 103, Plaza Level
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| Photograph by John Blyberg, used under CC license |
Presenters: Laurie A. Jacobs, Rubin Pfeffer, Jean Heilprin Diehl, Emilie Boon, Julie Hedlund
Why would I attend? As a self-professed luddite, I'm always interested in discussions regarding the relationship between technology and storytelling. I'm especially interested in this in regards to children's literature because many children's books are pretty expensive and, as such, tend to exclude people in the lower class. Therefore, in thinking about children's literature via very expensive E-readers is especially intriguing. That the authors mainly write very young children's books, the conversation might be more or less interesting.
Conflict: By this point in the day, had I attended all of the previous panels, I would be really thinking about taking a break to look through the book fair or have a glass of wine with friends I haven't seen in a long time.
3:00-4:15 P.M.
"CLMP (Council of Literary Magazines and Presses) Keynote Address:
Room 101, Plaza level
Presenter: Max RudinSummary: Rudin will discuss the role his publishing house plays in America's literary canon.
Why I would attend: I'm interested in the influence a publisher has in shaping the voice of a country and how changing perceptions of a country's identity function to change both the way writers approach their subject but also how publishers consider or reconsider certain writers as more or less authentic--especially when publishing is also driven by economic forces as much as historical preservation. It would also be good to witness how the publisher himself seems to be thinking of it. And since it's likely that a number of publishers will be attending this, I would want to hear what they're hearing.
Conflict: None. I'd just have to go to this one.
4:30-5:45 P.M.
Growing Up in a Warzone:
Voices of Writers on War and Childhood
Room 206, Level 2
Summary: Non-fiction essayists read from their work and discuss the effects war had on their childhoods, or at least on the writing of their childhoods.
Presenters: J.L. Powers, Peauladd Huy, David Griffith, Aria Minu-Sepehr, Marnie Mueller
Why I Would Attend: While I typically anti-gravitate toward non-fiction, the two subjects here trump my typical interests, and I'm interested in hearing the stylistic choices the writers made in how they presented the content.
Conflict: It's late in the day, and I would be very aware of the growing number of people gathering in the bar area to relax and discuss their thoughts about the day. The reality would likely be that the previous panel got me to thinking so much that I would want to go find Jack Kaulfus and talk to her about it. She always has smart things to say about, well, everything, really.
6:00 P.M. - 8:25 P.M.
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Boston skyline,
from Wikipedia
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Since this is the first night after a full day of events, this is typically when the attendees congregate in the lobby/bar area and meet up with old friends and meet new people. Plans for dinner are made, and Boston night explored. Those with real stamina may attend more off-site events.
8:30 P.M.-10:00 P.M.
8:30 P.M.-10:00 P.M.
Keynote,
A Conversation Between Nobel Laureates Seamus Heaney and Derek Walcott,
Moderated by Rosanna Warren
Veterans Memorial Auditorium, Level 2
Summary: Self-explanatory
Why I would attend: This will likely be the only time I would ever hear Heaney read in person, and when I was in Dublin, I heard just fantastic things about his recitations.
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Stay tuned for selections for the Friday, March 8th AWP schedule.
Until then, what AWP event on Thursday seems most interesting to you, and why?
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