Fourteen lines for fourteen years

A card with instructions for writing sonnets, from A Pocket Book of Forms, on a table next to an ink pen

For Ecotone’s fall 2019 Love Issue, on our fourteenth anniversary, we’re looking for fine poems in fourteen-line forms: sonnets of all kinds, rondels prime (aka rondels supreme), and brefs double. We’ll be open to poetry submissions all day on Valentine’s Day, on which date we will consider poems in these fourteen-line forms only.

We’d like to see meter well used—which is to say, legible and smart and messed with, sometimes—and not just iambs, for we see a paucity of trochees and triple meters and accentual work around here. The full call for work for the Love Issue is here: —and our complete guidelines are here:

Please send us your best of these, and help us spread the word!

Rondel prime (or supreme)

The rondel prime is a plain old rondel (though what rondel is plain old?) with an added final line. It goes like this—

ABba abAB abbaAB

—where initial-capped letters are refrain lines and lower-case letters are rhymes. Most meters work well for a rondel, we reckon.

Bref double

The bref double consists of three quatrains and a final couplet, much like a Shakespearean sonnet. There are three rhymes, noted a, b, and c. The a and b rhymes each appear twice in each of the first three stanzas—not necessarily, per Lewis Turco’s A Book of Forms, at the end of a line—and once each in the final couplet. The last line of each quatrain ends with a c rhyme. Lines should be of (roughly) equal length, but there’s no set meter for the bref double.


The card shown above gives the basics for Petrarchan—often abba abba cdecde—and Shakespearean—abab cdcd efef gg—sonnets. There are so many resources for sonnet-writing that we won’t say more here, except that two sonnets we’ve loved recently are this one, from Anna Maria Hong, and this one, from Cortney Lamar Charleston; we are interested in terza rima sonnets, Sicilian sonnets, etc., along with the more usual varieties; and we’d love to read sonnets in any meter. Also, we sure would like to see a crown or two.

A note

As always, we read submitted work with all upcoming issues in mind—so if you submit work with this theme issue in mind, if we love it but can’t fit it in Love, we’ll be in touch about publishing it in another of our upcoming issues.

Quatorzains forever!

After the Storms

Water flowing out of the Cape Fear River on Sept. 17, 2018, in the aftermath of Hurricane Florence. This photo was taken from a North Carolina National Guard helicopter, as part of a daily search for people in distress. (U.S. Army Photo by Staff Sgt. Mary Junell)

Hurricane season for the Atlantic officially ended on Friday, November 30th, but the effects of Hurricanes Florence and Michael—and Matthew in 2016—on Wilmington and nearby communities are still ongoing.

Over the weekend of September 14, Hurricane Florence dumped nearly three feet of rain on our town. Our home institution, the University of North Carolina Wilmington, was closed for a month, the longest it has ever been closed for a weather event.

We were lucky: the extent of the damage for Ecotone and Lookout’s offices was a few leaky ceiling tiles, and many lost hours of reading, editing, and production. We’re grateful to the subscribers and submitters and contributors who supported us during that time, and who have been so patient as we’ve gotten back on our feet. We’re thrilled about the release of Trespass, the new Lookout Books anthology of essays from Ecotone, this month—and thrilled, too, about publishing our newest issue, the Body Issue.

So many in North Carolina and elsewhere suffered far more serious losses—of homes and livelihoods, of access to safe drinking water and mold-free living spaces. Thirty-seven people in North Carolina lost their lives to Florence. Rivers flooded to record-setting heights, and as the waters, polluted with hog waste and coal ash, receded, they left dead fish along I-40, millions of dollars of damage in their wake, and uncertainties about the health of the river and surrounding ecosystems.

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Join Ecotone Contributors at Split This Rock Poetry Festival this weekend!

Ecotone heads to DC this weekend for the 2018 Split This Rock Poetry Festival! Check out our contributors presenting and reading! Will we see you there? Find us at the Social Change Book Fair on Saturday.

Thursday, April 19

Ghost Fishing Book Launch (Reading & Discussion)
Presenters: Melissa A. Tuckey and readers Hayes Davis, Camille T. Dungy, Everett Hoagland, Tiffany Higgins, Elizabeth Jacobson, Nancy K. Pearson, Gretchen Primack, Katy Richey, Purvi Shah, Danez Smith, Javier Zamora
1:30 – 3 p.m. | National Housing Center Auditorium

Many good things come out of Split This Rock Festival interactions and panel discussions—we’re proud to celebrate the birth of one! Ghost Fishing: An Eco-Justice Poetry Anthology was conceived as a result of a panel Split This Rock Co-Founder Melissa Tuckey hosted on June Jordan and environmental justice poetry back in 2012. Many, many months later, this groundbreaking book is at last in print! Pushing back against colonizing ideas of nature as unpeopled wilderness, Ghost Fishing presents a rich terrain of culturally diverse perspectives on issues of environmental crisis and resistance. Grounded in social justice and the belief that all beings have the right to a healthy, safe environment and home, this culturally diverse collection engages with many of the most pressing issues of our time, while also offering hope around our shared future. Come celebrate this necessary and inspiring book and help us think about how to get it out in communities. Bring a copy and get it signed by poets and the editor!

No More Masks! 45 Years of Women in Poetry (Panel)
Presenters: Elizabeth Acevedo, Ellen Bass, Sarah Browning, Solmaz Sharif
3:30 – 5 p.m. | Charles Sumner School Museum & Archives Room 102

In 1973, Ellen Bass co-edited, with Florence Howe, the first major anthology of women’s poetry, No More Masks!. Howe began her introduction, “This is not the last word on women poets. Indeed, in some respects it is more like the first word, since so little has been written about them as a group.” How far we’ve come! But in the moment of #MeToo and our often still-paltry representation in the ranks of publishing, how far we still have to go! Join a mutigenerational discussion as we honor our history and those who’ve gone before, celebrate successes, and rededicate ourselves to knocking down doors and building inclusive spaces that welcome all our many, varied, and glorious voices.

The Poet as Parent: Inoculating For and Against the World (Reading)
Presenters: Mario Chard, Camille T. Dungy, Erika Meitner, David Thacker
3:30 – 5 p.m. | Charles Sumner School Museum & Archives Memorial Hall

Does the poet-as-parent sometimes feel the joy and pain of a nation in turmoil more acutely than those without children? Whether that’s true, or even worth our time to debate in light of such great need, what is true is that some poets have children and some choose to speak to those children about the world through their poems. This themed reading explores the ways in which a diverse panel of contemporary poets speak to their children in their work. In a metaphor for vaccination–when a parent takes an infant to a clinic to receive a weakened virus in order to build immunity against it– we sometimes use the word “inoculate,” meaning to graft an “eye” (oculus) of one plant into another. Here “eye” stands in for “bud,” the new leaf forming, and thus, through the act of inoculation, we figuratively “give sight” to our children. We graft in the new eye. These poems are the new eye. This is the world we teach them to see.

Featured Reading & Book Signing
Camille T. Dungy, Sharon Olds, Javier Zamora, 2018 Sonia Sanchez-Langston Hughes Poetry Contest Winner Jonathan Mendoza

7 – 8:30 p.m. | National Housing Center Auditorium |
ASL interpretation provided. Reading followed by a book signing. Books will be available for sale by Split This Rock partner Busboys & Poets Books. Free & Open to the public.

Friday, April 20

No F*cks to Give: Women Poets and Dark Humor (Reading)
Presenters: Lillian-Yvonne Bertram, Kendra DeColo, Erika Meitner, Shara McCallum, Tyler Mills
11 a.m. – 12:30 p.m. | American Association of University Women Room 1

Comedy has historically been a tool for social change, used to influence those in power and subvert the status quo. But how can humor be used to resist a regime whose leader is described as “satire-proof”? What powers and responsibilities do poetry and stand-up carry in times of political turmoil and repression? What does it mean to have an attitude of “No F*cks” while fighting forces that seek to keep us hopeless and inert? In this lively panel, five women poets will read from work that sits at the intersection of satire, performance, and social critique and that seeks to reclaim and disrupt dehumanizing rhetoric through an unapologetic, fierce poetics. They will discuss the influence of comedy on their craft, specifically the ways humor can upend and challenge systems of oppression. We hope this reading will generate robust discussion and audience participation on creating work that claims our humanity while exposing the absurd ineptitude and cowardly violence of the current regime.

Tools from the Editor’s Desk: A Revision-based Workshop for Poets and Poet-Editors (Workshop)
Presenters: Anna Lena Phillips Bell and Sumita Chakraborty
11 a.m. – 12:30 p.m. | American Association of University Women Room 2

Editing is an act of love—an effort to help writers find their work’s best form and to help readers discover that work. Two editors who work with poets for publication in national literary magazines will offer writers fresh strategies for revising their own work and for offering practical feedback on others’ work. With both existing examples and poems written during the workshop, we’ll practice using tools from the craft of editing, including the art of querying as well as considerations of syntax, rhetoric, grammar, usage, and more. We’ll explore strategies for providing feedback without furthering oppression around class, race, gender, place of origin, and sexuality. We’ll discuss ways to engage compassionately, openly, and truthfully with both our own identities and those of the writers we work with. We’ll consider the peculiar benefits and challenges of being a poet-editor, as well as ways to get started as an editor for those who wish to explore the field. Writers will leave the workshop with a packet of revision prompts and resources for editing.

Sweet, Fraught South: Readings and Incitements to Write from Place (Reading)
Presenters: Anna Lena Phillips Bell, Sumita Chakraborty, Ashley M. Jones
3:30 – 5:30 p.m. | Charles Sumner School Museum & Archives Room 102

Writing that emerges from place can reveal not only the effects of oppression but also the radical joy that can come from attempts to know a landscape well and live in right relation to it. The poets featured in this workshop and reading use diverse formal strategies to write from the Southern places they know, love, and struggle with. They explore ecological vibrancy and decline, historical erasure and resurrection, regional speech and song, gender, and the intersections between environmental and social justice. Each will read from recent work and then offer a prompt designed to inspire writing from place and aid poetic practice. A minibook containing the prompts will be offered to those in attendance, and the session will include time for conversation among readers and audience members about place-based practice.

 Saturday, April 21

2018 Split This Rock Social Change Book Fair
10 a.m. – 3:30 p.m. | National Housing Center

Featuring the critically important work of socially engaged poets, writers, organizations, progressive presses, literary magazines, and independent newspapers. Free and open to the public.

Featured Reading & Book Signing
Kazim Ali,
Ellen Bass, Terisa Siagatonu
4:15 – 5:45 p.m. | National Housing Center Auditorium

ASL interpretation provided. Reading followed by a book signing. Books will be available for sale by Split This Rock partner Busboys & Poets Books. Free and open to the public.

Behind the Scenes: “What We Fed to the Manticore”

At Ecotone, we carefully consider interior layout, text treatment, and design because we want the held object to be a pleasing vehicle for the written content. The Ecotone design team works to create an individualized design for each opening page of fiction and nonfiction. They are charged with creating a visual feel, considering images and type, to accompany and amplify the impact of the piece. In this blog department, staff designers highlight past Ecotone spread designs that inspire them, and discuss design principles they incorporate in their work.

Ecotone staffer Alexis Olson considers Talia Lakshmi Kolluri’s “What We Fed to the Manticore” spread from Issue 21, designed by Morgan Davis.

The blend of hand-lettering and photography really draws me to this design. “What We Fed to the Manticore” is grounded in place, much like the spread is grounded by the mangrove roots. I love how the shape of the letterforms mimic the flow of water or silt while acknowledging the playfulness of the story’s animal first-person point of view. The mangrove roots were designed by taking the original image via Flickr and using the magnetic lasso in Photoshop to eliminate the background. This isolates the creeping roots of the tree while leaving plenty of white space for the text to live in. The image, title, attribution, and text work together to communicate a fantastical tone, perfectly complementing the story.

Seven Questions for Rachel Z. Arndt

In Seven Questions, we interview writers, editors, designers, and others in publishing. Today, we interview Rachel Z. Arndt, whose essay “Wind” is forthcoming in Ecotone 25. She received MFAs in nonfiction and poetry from the University of Iowa, where she was an Iowa Arts Fellow and nonfiction editor of the Iowa Review. Her writing appears in Popular Mechanics, Quartz, Pank, Fast Company, and elsewhere. She lives in Chicago. Her essay collection Beyond Measure, comes out this week from Sarabande.

Your book, Beyond Measure, is an exploration of the rituals, routines, metrics, and expectations through which we attempt to quantify and ascribe value to our lives. Do you practice any rituals when it comes to your writing, and if so, what can you share with us about them? 

I’m militant about the pens I write with: Uni-ball Vision Exact micro (in black). The problem is these pens were discontinued years ago, which I started to realize—and deny—the last year I lived in New York. Toward the tail end of that year, after I decided to move halfway across the country for grad school, I checked my Ziploc-bagged stash, saw I was running low, and went online. I scoured office supply stores, specialty writing utensil stores, and school supply stores. No dice. So I went to eBay and ordered maybe thirty of them. As long as they got me through school, I told myself, I’d be fine. They did.

I’m also pretty militant about my notebooks: blank 5-inch by 8.25-inch Moleskines. Lines distract me. Plus, I pride myself on being able to write in straight lines, a skill I’ve been perfecting since middle school math class. If the writing’s no good, at least it looks good.

These are, I realize, coping mechanisms for dealing with writers’ block and crankiness and off days when everything comes out clunky and abstract. They are coping mechanisms, that is, for the loss of control that’s inherently part of writing—a loss that’s strange, given nonfiction’s adherence to hard and fast facts, but a loss that makes sense when you think of writing less as translating the world to text and more as translating one’s experience of the world to text.

Where did you get the idea for your forthcoming Ecotone essay “Wind”? 

I tend toward the abstract. So I made myself think of something tangible and, one afternoon after getting back from a windy Iowa bike-ride, stared out the window until a memory bubbled up that had a distinct beginning, middle, and end.

The stuff about the weather came later. As I was writing—because I usually don’t know what I’m actually writing about until I see it on the page—I realized people who lived far away asked me about the weather either because they refused to ask what they really wanted to know—how I was doing—or because they refused to actually care. I suppose the essay idea came from my belligerent take on meteorological small talk; I was sick of talking about the weather. So I wrote a few thousand words about the weather.

Name a book you bought for its cover.

I wish I could say Future Sex, by Emily Witt, but that cover was just a bonus. More honestly, R.L. Stine’s Night in Werewolf Woods, which is one of those choose-your-own-adventure Goosebumps books. Since coloring in Pharaoh’s dog in my coloring-book Haggadah, I’ve had a soft spot for dogs with big teeth (I’ll ignore that I didn’t realize, apparently, that that Goosebumps “dog” is actually a werewolf).

You have a superpower: you can immediately give to every person on earth one piece of information. What is it?

As my dad says: Everything is mostly space.

What emerging author are you most excited about? 

A friend of mine from grad school, Chloe Livaudais, writes beautifully about motherhood and being a daughter. Her metaphors and similes are shockingly astute and make me see the world—and the women in it—in new ways.

When do you feel most confident as a writer? 

After emerging from the fugue of feverishly writing by hand nonstop for an hour or two, while flipping back through the ink-soggy pages, looking at what I’ve done but not actually reading it. (Later, when I type those pages, that confidence will slither away.)

Lightning Round:

Highlight or underline? Underline.
Ocean or mountains? Lake.
Hardcover or paperback? Hardcover.
Morning or night? Morning.
Dogs or cats? Dogs.
Text or call? Text.
Future or nostalgia? Nostalgia for the time that doesn’t exist when I wasn’t so worried about the future.

Thank you to Ecotone staffer Alexis Olson for her contributions to this interview.

You’re Invited to the Spring Ecotone Frolic!

If you’re in southeastern North Carolina, join us in Wilmington this Friday night, April 6, to celebrate the launch of Ecotone 24, the Craft Issue.

Featuring Emily Larned of ILSSA and the Making Time project, and:

—A mending station, with quilter and copyeditor Laura Poole, and the Ecotone team. Sew on a missing button! Or sew on a fancy extra button!

—Square dance featuring music from Stray Local and caller/Ecotone editor Anna Lena Phillips Bell.

—Cake, of several kinds!

Festivities begin at 7:30, dance at 8:30.

Burnt Mill Creek, 2010 Market Street, Wilmington, NC

Free and open to the public. All are welcome! Suggested donation of $5, or $10 with a copy of the Craft Issue.

For more details or questions, visit our Facebook Invitation. Hope to see you Friday!

Seven Questions for Alexis Pauline Gumbs

In Seven Questions, we interview writers, editors, designers, and others in publishing. Today, we interview Alexis Pauline Gumbs, whose work, Map of Anguilla, BWI. Handed to Alexis Pauline Gumbs by Jeremiah Gumbs. appears in Ecotone 23. She is the granddaughter of Anguillian revolutionaries Jeremiah and Lydia Gumbs, and the author of Spill: Scenes of Black Feminist Fugitivity, the coeditor of Revolutionary Mothering: Love on the Front Lines, and the founder of the Eternal Summer of the Black Feminist Mind, based in Durham, North Carolina. Her book M Archive: After the End of the World —the second book in a planned experimental triptych—is a series of poetic artifacts that speculatively documents the persistence of Black life following a worldwide cataclysm. It comes out this week from Duke University Press.

If you could spend a year writing anywhere in the world, where would it be?
I would spend the year in Anguilla. There is something about being able to hear the ocean twenty-four hours a day that helps me write from a deeper place. Anguilla specifically is a place where I can hear the guidance of my ancestors more loudly and clearly than anywhere I’ve been because of my own ancestral and family connection to the island. Once I spent a month writing in Anguilla and it was profound. The whole time, I wrote thank-you poems to Black feminist thinkers who have contributed to my life with their work and their living. That wasn’t the plan, and each of those poems was really for an audience of one person, but it is some of the most necessary writing I have ever done.

What books are open on your desk right now?
Interdependence: Biology and Beyond by Kriti Sharma (a brilliant North Carolina writer, scientist, and beloved friend) an issue of “Artists and Influence” (a serial publication by Camille Billops and James Hatch) “Who Set You Flowin’?”: The African American Migration Narrative by Farah Jasmine Griffin…(My beloved teacher and intellectual mother, I read her books on perpetual rotation.) Rebellious Mourning: The Collective Work of Grief (edited by Cindy Milstien). The Gift is in the Making by Leanne Betasamosake Simpson. And The Inheritance Trilogy by N.K. Jemison and A Wind in the Door by Madeleine L’Engle are on my bed; my partner and I are reading those two aloud.

What emerging author or first book are you most excited about?
Oh goodness. So many! The first person who comes to mind is Desiree Evans, a brilliant writer from New Orleans who is working on her MFA right now. I am so excited about her work!

You have a superpower: you can immediately give every person on earth one piece of information. What is it?
You are loved.

When do you feel most confident as a writer?
When I am actually writing. (In contrast to the moment right before I start writing when I feel panic, fear and complete confusion about who I am.)

Which fictional character would you choose to go on a road trip with, and where would you go?
Oh, I read this question too quickly and thought it was which AUTHOR I would choose to go on a roadtrip with. Zora Neale Hurston! To Haiti! But since it’s actually about a fictional character…that’s harder. Danielle Valore Evans writes the best road trip stories, but that’s partly because her characters are exactly who I should NOT go on a road trip with… Hmm. I guess I’d get my affairs in order, just in case, and go to Alaska with Sula. (By the way, I am actually preparing to go on a road trip in a couple of weeks. With my mom.)

Where did you get the idea for “Map of Anguilla, BWI. Handed to Alexis Pauline Gumbs by Jeremiah Gumbs.” in Ecotone 23 and the inspiration for your most recent work, M Archive: After the End of the World?
Actually the inspiration is similar for two reasons. First, because they are part of the same writing process. A few years ago I decided to write daily with short phrases, questions, or words from the theoretical work of Hortense Spillers, M. Jacqui Alexander and Sylvia Wynter, in that order. Spill: Scenes of Black Feminist Fugitivity came out of writing with words from Spillers. M Archive: After the End of the World came out of writing with Alexander’s work, mostly her questions, and the words in the Anguilla Map piece are excerpts from the third work, still in process, that is part of my writing with Sylvia Wynter’s essays. Writing with Sylvia Wynter’s work brought a flood of ancestral messages to me and those are what make up the words in the Map piece.

At the same time, I made the map itself out of maps that my grandfather Jeremiah Gumbs had used when he was executing my grandmother Lydia Gumbs’s great idea to create the first beach hotel in Anguilla (the same place I had that writing retreat I was talking about before). I used his maps of the island, some of their stamps, the water tables, some architectual sketches, part of a picture of a sail boat with the back of my father’s head in it towards the horizon to make the image…which makes sense to me because M Archive: After the End of the World is from the perspective of a researcher piecing together an archive of experiences before her time. I don’t know the Anguilla my grandparents and great grandparents and middle passage surviving and Awawak ancestors once knew. I am constantly trying to piece it together.

Also, the buildings themselves that came out of that process were destroyed by Hurricane Irma. My grandparents graves and my father’s graves were submerged underwater by the storm. So that piece became prophetic in ways I would not have guessed or consciously wanted.

It’s after the end of the world.

Lightning Round:
Coffee or tea? Tea.
Morning or night? Morning.
Typing or longhand? Both. I’m ambidextrous.
Earthquakes or hurricanes? I have already survived multiple hurricanes.
Music or quiet? The sound of the ocean.
Highlight or underline? Underline.
Bookmark or dog-ear? I really need to make some Black Feminist Bookmobile bookmarks.

Thank you to Ecotone staffer Ashley Monique Lee for her contributions to this interview.

Roundup: AWP Hot Panels Edition

Packing for AWP in Tampa next week and inundated by invitations to panels and parties? So are we! But we’re excited, too: AWP is always a big Ecotone/Lookout Books family reunion and we can’t wait to see you. We’ve whittled out a small selection of events, featuring recent Ecotone contributors. Visit us at Tables 1302 and 1304, where we’ll be getting “Craft”-y…

Remember: leave lots of room in your boes and bags for bookfair acquisitions, apply and reapply sunscreen, and hydrate! See you in Tampa.


Intersectional South: New Perspectives in Southern Poetry. (Chad AbushanabJohn Poch, T.J. Jarrett, Adam Vines, Juliana Gray) In the 21st century, there exists a multitude of Southern poetics defined not by location, but by the variable experiences of the American South. This panel seeks to explore “Southerness” in terms of individual experience in order to highlight new identities and perspectives in contemporary Southern poetry. It brings together a diverse group of poets who will speak to the idea of “Southerness” in literature, and how they see this operating in (or against) their own work.
Room 18 & 19, Tampa Convention Center, First Floor
Thursday, March 8, 2018
9:00 a.m. to 10:15 a.m.

The Art of Crafting a Chapbook from Start to Finish. (Abigail BeckelJennifer TsengDan MahoneyWilliam Todd SeabrookBrad Aaron Modlin) What makes a chapbook successful, both in terms of literary merit and sales? This panel will explore best practices for writing, organizing, and publishing chapbooks. Authors will discuss how they conceptualized and structured their chapbook manuscripts, and leading chapbook publishers will talk about what they look for in submissions and how they design and market chapbooks. We’ll also discuss the range of genres—poetry, flash, hybrid work—the short length of a chapbook can effectively showcase.
Room 5 & 6, Tampa Convention Center, First Floor
Thursday, March 8, 2018
10:30 a.m. to 11:45 a.m.

The World Grows: New Directions in Environmental Writing. (Ross Gay, Camille Dungy, Pam Houston, Aimee Nezhukumatathil, Diana Owen) Through writing and art that explore the connection between nature and culture, Orion inspires new thinking about how humanity might live on Earth justly, sustainably, and joyously. This panel brings together an award-winning and diverse group of Orion authors who will read original work and discuss new directions in environmental writing, a genre that has become increasingly urgent in today’s world. Room 18 & 19, Tampa Convention Center, First Floor
Thursday, March 8, 2018
1:30 p.m. to 2:45 p.m.

Poetry, Myth, and the Natural World: A Reading with Aimee Nezhukumatathil, Rajiv Mohabir, and Sherwin Bitsui. Sponsored by Blue Flower Arts. (Aimee Nezhukumatathil, Sherwin Bitsui, Alison Granucci, Rajiv Mohabir) The layering of cultures; the complex wonder of the natural world; the riddle of faith; the deep resonance of mythology: what better place for these dimensions to wrestle and converse than in the poetic realm? The urgency inside the poems of Aimee Nezhukumatathil, Rajiv Mohabir, and Sherwin Bitsui offer a complicated empathy with the world, one that grapples with loss and is tinged with sorrow: even beauty can hurt. Yet their language, resplendent with song, also sings into being a world of joy.
Ballroom B, Tampa Convention Center, First Floor
Thursday, March 8, 2018
4:30 p.m. to 5:45 p.m.


The World and the Story: How Plot Maps Fictional Realities. (Leah StewartBrock Clarke, Jung Yun, Brenda PeynadoJulialicia Case) In fiction, there’s an interdependent relationship between world-building (the map) and narrative construction (the route). This panel will examine how writers employ different types of stories—the romance, the mystery, the quest—in service to different visions of reality. Why does a realist like Chekhov so often use the romance? For what purposes does a fantasy writer use the quest? How can a writer of literary fiction employ the quest or the mystery to investigate character?
Room 11, Tampa Convention Center, First Floor
Friday, March 9, 2018
10:30 a.m. to 11:45 a.m.

Against Forgetting Against Forgetting: 25 Years Later. (John PochJill Bialosky, Peter Balakian, Jacob Shores-Arguello, Rebecca Gayle Howell) Twenty-five years ago, Carolyn Forche’s groundbreaking anthology, Against Forgetting: Twentieth Century Poetry of Witness, was published. This gathering of poems helped to galvanize an entire generation of poets who came to believe that poems could do more than articulate a poet’s confessional hankerings and could bear witness to history itself. The poets on this panel will read a few of their favorite poems from the anthology and discuss what this book meant and means to their own work and the world.
Florida Salon 5, Marriott Waterside, Second Floor
Friday, March 9, 2018
12:00 p.m. to 1:15 p.m.

Vassar Miller Poetry Prize 25th Anniversary Reading. (Caki Wilkinson, Alison Stine, James Najarian, Anna Lena Phillips Bell, Jordan Windholz) The Vassar Miller Poetry Prize, founded at the University of North Texas in 1993, honors Texas poet, writer, and disability rights advocate Vassar Miller (1924–1998). To commemorate the prize’s 25th anniversary, writers of winning manuscripts will read from their collections, showcasing the formal and geographic variety of poetry published in the series. The reading will be followed by a Q&A.
Florida Salon, 1, 2, & 3, Marriott Waterside, Second Floor
Friday, March 9, 2018
1:30 p.m. to 2:45 p.m.

Sustainable: On Writing Long and Linked Poems. (Kathryn Nuernberger, Jenny Molberg, Cortney Lamar Charleston, Jacques J. Rancourt, Traci Brimhall) In an age of digestible snippets, we grow hungry for occasions to practice the fine art of paying attention. An art form rooted in mindfulness, the long poem is one way of practicing deliberate attention. Drawing on their own experiences writing and publishing long poems, linked poems, project books, and novels-in-verse, this panel will discuss both the rich literary tradition of long and linked poems, as well as provide insights into the process and craft of creating your own sustained lyrics.
Grand Salon D, Marriott Waterside, Second Floor
Friday, March 9, 2018
3:00 p.m. to 4:15 p.m.

A Woman’s Place: Ecotone Essayists Expand the Boundaries of Place-Based Writing. (Belle BoggsAnna Lena Phillips BellShuchi SaraswatAisha Sabatini Sloan) Contributors to a new anthology from Ecotone and Lookout Books discuss how we can continue to broaden the traditional boundaries of place-based writing to make room for more complexity: explorations of body, sexuality, gender, and race. Joined by their editor, these authors consider how women’s unique experiences and histories make them artful observers of the natural world. They will read from their essays and talk about approaches to intersectionality in the field of environmental writing.
Florida Salon 4, Marriott Waterside, Second Floor
Friday, March 9, 2018
4:30 p.m. to 5:45 p.m.

The Teaching Press: Bringing Professional Literary Publishing into the Classroom. (Holms Troelstrup, Steve Halle, Deanna Baringer, Ross Tangedal, Beth Staples) Lookout Books at UNC–Wilmington, PRESS 254 at Illinois State University, BatCat Press at Lincoln Park Performing Arts in Pennsylvania, and Cornerstone Press at UW–Stevens Point utilize literary presses as teaching tools for graduate, undergraduate, and secondary students, emphasizing hands-on experience in literary publishing. Panelists detail important practical and curricular concerns in establishing and maintaining a teaching press, as well as the local and national impact of their work.
Room 17, Tampa Convention Center, First Floor
Friday, March 9, 2018
4:30 pm to 5:45 pm

A Foot in Two Cultures: First Generation American Poets. (John HoppenthalerLauren Camp, Timothy Liu, Adrienne Su) The contemporary influence of poets who were born in the US and whose parents are immigrants has been substantial and important. For these poets, there is an ongoing calibration of the distance between the culture of their parents and their negotiation with the reality and myth of an American Dream. The inherent tensions of this push and pull create a space that can be fruitful for poetry, a space from which the poets who comprise this panel continue to write.
Florida Salon 5, Marriott Waterside, Second Floor
Friday, March 9, 2018
4:30 p.m. to 5:45 p.m.


“Ballade of the Poverties”: A Reading by Beloit Poetry Journal Poets. (Meg Day, Nicelle Davis, Cortney Lamar Charleston, Sally Wen Mao, Carolyn Forché) Writers will read poems inspired by Adrienne Rich’s “Ballade of the Poverties.” Addressed to the princes of predation and finance, this piece reminds us that political poetry isn’t new or newly necessary but remains a vital force for survival, resistance, and change. Audience members will submit lines for inclusion in a collaborative response to “Ballade,” to be printed published on the BPJ website.
Room 20 & 21, Tampa Convention Center, First Floor
Saturday, March 10, 2018
3:00 p.m. to 4:15 p.m.

Crafting the Weird: Techniques of Fabulist Female Fiction. (Clare BeamsBrenda Peynado, Jamey Bradbury, Celia Johnson, Ramona Ausubel) Surreal, magical, or fabulist fiction has traditionally been employed to attack political systems through subversive means. Yet, women writers have adapted this genre for their own modes of critique. In this event, panelists will discuss how they use elements of the weird to address subjects such as the domestic, the female body, otherness, and LGBTQ identity. Presenters will provide examples, methods, and techniques for crafting subversive fiction that offers new methods of witnessing reality.
Meeting Room 1, Marriott Waterside, Second Floor
Saturday, March 10, 2018
3:00 p.m. to 4:15 p.m.