Why do so many poets also write prose nonfiction? What transformations occur between poem and essay? Pulitzer Prizewinner Vijay Seshadri, whose newest book is 3 Sections, discusses notions of identity, form, and fulfillment for contemporary writers.
Poet and essayist Alison Hawthorne Deming, whose newest book is Zoologies: On Animals and the Human Spirit, discusses writing in the era of climate change – how we must join the sensual texture and discernment of poetry with the critical content of scientific writing to fully elucidate a rapidly changing world.
How can different forms frame your life in different ways? How do poetry and memoir tell different kinds of truths? Three of today’s most acclaimed cross-genre writers – Nick Flynn (Another Bullshit Night in Suck City), Sarah Manguso (The Guardians), and Megan O’Rourke (The Long Goodbye) – address these questions and more in this special Saturday conversation.
Chart your own path through the exhibition Kimono: A Modern History and enjoy drop-in, interactive experiences with art and poetry. Participate in writing activities, listen to music, and explore gorgeous textiles while surrounded by treasures in the museum’s Japanese galleries.
Celebrated journalist, poet, and New York Times bestselling author Eliza Griswold, whose most recent book is the poetry and photography compilation I Am the Beggar of the World: Landays from Contemporary Afghanistan, speaks on the intersections and overlap of her Middle East reportage and poetry.
Is there such a thing as a poet’s novel, a text which uniquely traverses boundaries between genres? Why do poets turn to novels? Poet and novelist Laynie Browne, whose most recent book is Lost Parkour Ps(alms), examines this erratic, hybrid and often elusive form.
For many people, childhood is the time we are most saturated with poetry, and young adulthood is when we are first compelled to write it. Matthea Harvey and Marilyn Nelson, leading poets and writers for children and young adults respectively, discuss how their poetic practices include and are influenced by their writing for young people.
Award-winning poet J.D. McClatchy discusses the relationship between his poetic practice and his work as a librettist. Followed by a reading of The Leopard, McClatchy’s libretto for a new opera based on the internationally acclaimed novel from 1958 by Giuseppe Tomasi di Lampedusa. McClatchy is joined by the opera’s composer Michael Dellaira for a post-reading talk.
“One of the most influential poetry critics of his generation,” according to The New York Times, Harvard professor Stephen Burt has published three collections of poetry in addition to his many critical works. In this program, he’ll discuss "the paradoxical, conflicting role of the poet-critic or how to read your own work as if you didn't write it" – a useful skill for poets and writers of all kinds.
Can poetry function as closet drama, occurring offstage? At turns text, event, and chorus? In this three-day seminar and workshop, we'll move in successive forms -- from a close-read of Ingeborg Bachmann’s radio drama, “The Good God of Manhattan” (1958) alongside selections from her poetry, into the film and performance scripts of Kathy Acker, and finally to notes on her own work by Marguerite Duras, whose devotion to sound and disrupted linearity is basically a staging of poetic thinking.