Writing Prose Poetry
June 28–July 2 / 8–10 a.m.
Course Description: Poetry is most easily identified by literate readers as the genre that is not written in prose; whether formal sonnets or free verse, poetry is a form of writing visually unique unto itself. Yet even before the current era of hybridity, recognizable written poetry was being viewed as separate and divided from the other literary genres. In 1869, French poet Charles Baudelaire dreamed of “the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our reveries” which resulted in the “little poems in prose” that make up his book Paris Spleen. Prose poetry is a hybrid genre driven by the energy produced at the co-present intersection of prose and poetry, utilizing the best of what prose and poetry offer. Imagine writing fiction or nonfiction that sings and leaps like poetry, or writing poetry shaped by the syntax and sophisticated style of prose. Imagine paragraphs where prose and poetry tango together on the page. Learn how prose poetry can offer experiment, expand content, and explore sentence level play and performance. In the workshop we’ll look at examples of prose poetry from master practitioners (such as Russell Edson, Lydia Davis, Nin Andrews), and discuss them in terms of how prose poems fabricated, and what challenges and excitement are created. Then, following some prompts, we’ll write our own prose poems to share and discuss. Flexible (ages 18+)
Bio: Robert Miltner’s books of prose poetry are Hotel Utopia (New Rivers Press) and Orpheus & Echo (Etruscan Press); his prose poetry chapbooks include Against the Simple (Kent State University Press) and Eurydice Rising (Red Berry Editions); his collection of short fiction is And Your Bird Can Sing (Bottom Dog Press); and his collection of creative nonfiction is Ohio Apertures (Cornerstone Press). A professor emeritus at Kent State University and the NEOMFA in Creative Writing, Miltner is recipient of an Ohio Arts Council Individual Excellence Award for Poetry, an Ohio Arts Council Fellowship at Vermont Studio Center, and a writing residency at The Wassaic Project. He edits The Raymond Carver Review.
Writing the Literary Snapshot
June 28–July 2 / 1:15–3:15 p.m.
Course Description: Our stories have the rare power to explore and connect us beyond the obvious divides of race, class, gender, religion and geography. Whether you’re working on a memoir, family history or a series of personal essays, the challenge often lies in translating the riches and struggles of real life into an actionable and manageable writing project. This generative workshop harnesses the low-pressure and intuitive process of writing short vivid pieces of scene and memory (or “snapshots”) as a means of jumpstarting your creative project and writing practice, no matter your level of experience. Together we’ll discuss sample memoir snapshots, respond to interactive writing prompts, and develop a manageable writing plan to carry beyond the workshop. Flexible (ages 18+)
Bio: Sonja Livingston’s latest book, The Virgin of Prince Street, uses an unexpected return to her childhood church to explore changes in the larger Church and in personal concepts of devotion. Richard Rohr praised the work for “infusing nuance and generosity into an increasingly polarized religious landscape.” Sonja’s first book, Ghostbread, a memoir of childhood poverty, has been widely adopted for classroom use. Her nonfiction has won an AWP Book Prize, a New York Arts Fellowship, an Iowa Review Prize, a VanderMey Nonfiction Award, and an Arts & Letters Essay Prize. Sonja is an associate professor of creative writing at Virginia Commonwealth University.
The Languages of Home
July 5–9 / 8–10 a.m.
Danielle Legros Georges
Course Description: In which languages are you most at home? What are the languages of your thinking, dreaming, resisting, loving, finding peace? What is the language of your unlanguaged self? This workshop will explore the various languages and homes we carry within us—and the ways we might honor them through poetry. The workshop is a generative one—one meant to challenge and inspire us into discussions, and ultimately poem drafts. Generative (ages 18+)
Bio: Danielle Legros Georges is a writer, translator, academic, and author of several books of poetry including The Dear Remote Nearness of You, winner of the New England Poetry Club’s Sheila Margaret Motten book prize. She is a professor of creative writing at Lesley University, and taught in the Joiner Institute for the Study of War and Social Consequences Writer’s Workshop, at the University of Massachusetts, Boston for more than a decade. Her awards include fellowships from the Massachusetts Cultural Council, the Boston Foundation, and the Black Metropolis Research Consortium. The Massachusetts Artists Leaders Coalition recognized her civic work with a Champion of Artists Award in 2017. She was appointed the second Poet Laureate of the city of Boston, serving in the role from 2015 to 2019. The translation editor of the literary journal Consequence, her most recent work is a book of translations from the French, Island Heart: The Poems of Ida Faubert, published by Subpress Collective (2021).
The Mirror Exercise with Zelda Lockhart, PhD
July 5–9 / 1:15–3:15 p.m.
Course Description: This workshop will center around a series of prompts designed to help you build a short story or personal essay (short memoir piece) utilizing reflective elements of one of your relationship journeys. You will imbue your work with the character journey you have spent your life developing, your own. The short story or personal essay you create during this workshop will also make for a chapter in a full-length manuscript. We will focus on unique strategies to expand your plot to this full-length work. We will also focus on strategies to get your writing done not despite daily life obstacles but utilizing them as a main ingredient of a story well lived and well told.
Bio: Zelda Lockhart holds a PhD in Expressive Arts Therapies, an MA in Literature and a certificate in writing, directing and editing from the New York Film Academy. Her latest books include forthcoming Harper Collins 2021 & 2022 titles The Trinity: The Story of The Father, The Son and the Black Daughter Who Set Things Up Right Again, Recollect: A Black Woman’s Creative Journey to Decolonizing Mind, Body & Soul. She is co-writer of forthcoming Harper Collins Fall 2021 title Mama Bear: One Black Mother’s Fight for Her Child’s Life and Her Own by Shirley Smith with Zelda Lockhart, and of Harper Collins 2019 title Diamond Doris: The True Story of the World’s Most Notorious Jewel Thief by Doris Payne with Zelda Lockhart.
Lockhart’s book The Soul of the Full-Length Manuscript: Turning Life’s Wounds into the Gift of Literary Fiction, Memoir, or Poetry has helped many writers complete the journey of writing their stories through to publication. Lockhart is also author of novels Fifth Born, a Barnes & Noble Discovery selection and a Zora Neale Hurston/Richard Wright Award finalist, Cold Running Creek a Black Caucus of the American Library Association Honor Fiction Awardee, and Fifth Born II: The Hundredth Turtle, 2011 Lambda Literary Award finalist. She is Director at Her Story Garden Studios: Inspiring Black Women to Self-Define, Heal and Liberate Through the Literary Arts, and Publisher at LaVenson Press: Publishing for Women & Girls of Color. Dr. Lockhart is an inspirational teacher, facilitator and public speaker passionate about utilizing art to help individuals and organizations live and work authentically.
Writing at the Edge of the Irreversible: A Poetry Workshop
July 12–16 / 8–10 a.m.
Luisa A. Igloria
Course Description: How are language and image-making linked to historically, culturally, and indigenously determined ways of seeing/viewing the world? What kinds of poems can speak of our relationship to the lands which we inhabit, to the threat of irreversible futures from climate change, to histories we want to remember as well as transform? In this workshop, we’ll read and write poems addressing the perspectives of ecopoetry— That is, the keen awareness of the natural world as not just decorative background in the service of literature or art, but as a web of interrelations vaster than our perceived place in it. In poems, we’ll craft our visions and hopes for a world where we can make conscious space for both a responsible practice in the present and an active hope for the future. Participants may also bring what they know of other multidisciplinary forms to what they create in this workshop (for example: drawing, collage/found art, book art). Sessions will include readings, writing prompts, and the sharing of discussions and poems by participants. Flexible. (ages 18+)
Bio: Luisa A. Igloria is the author of Maps for Migrants and Ghosts (Southern Illinois University Press, 2020), The Buddha Wonders if She is Having a Mid-Life Crisis (Phoenicia Publishing, Montreal, 2018), and 12 other books. Luisa was the inaugural recipient of the 2015 Resurgence Poetry Prize (UK) for ecopoetry, and is a Louis I. Jaffe Professor of English and Creative Writing in the MFA Program at Old Dominion University. She also leads workshops for The Muse Writers Center in Norfolk. In July 2020, she was appointed Poet Laureate of the Commonwealth of Virginia.
Stealing Beauty: “Translating” From the Sister Arts
“Mediocre Writers Borrow; Great Writers Steal.” —T. S. Eliot
“Bad artists copy. Great artists steal.” —Pablo Picasso
July 12–16 / 1:15–3:15 p.m.
Course Description: Often fiction writing is provoked by contact with other art forms like painting, music and film. If composition is a series of decisions about what goes where, shouldn’t the translating of decisions from painting, music and film into narrative language be possible? And if it is possible, how can we go about it? Or, to start from the other direction: how can we weave our obsessions with music, painting and film into our fiction writing? The Greek word for this translating is ekphrasis (which usually refers to poetry), and in the contemporary world we often speak of allegory and mimesis. That’s what we’ll be doing in this class. Flexible. (ages 18+)
Bio: Jeffrey DeShell has published seven novels, most recently Masses and Motets (FC2, 2019). He was a Fulbright Teaching Fellow in Budapest, and has taught in Northern Cyprus, the American Midwest and Bard College. Currently he is the Director of Creative Writing at the University of Colorado at Boulder. He splits his time between Boulder and upstate NY, with the novelist Elisabeth Sheffield and their two children.
Angles of Identity in Contemporary American Poetry
July 19–23 / 8–10 a.m.
Course Description: Contemporary American poetry’s core virtue may be the diversity and pliability of its speakers, authors, and subjects. During this workshop, we will read poems written by multiple poets whose personal and on-the-page identities are rendered from different angles of cultural, racial, sexual, religious, and socioeconomic calibration. Upon reading and discussing work by such poets, we will then try to start our own drafts of new poems. Generative. (ages 18+)
Bio: Marcus Jackson studied poetry in NYU’s graduate creative writing program and as a Cave Canem fellow. His poems have appeared in such publications as The American Poetry Review, The New Yorker, and The New York Times Magazine. His second book of poems, entitled Pardon My Heart (Northwestern University Press/TriQuarterly Books), was released in 2018. Of Pardon My Heart, Jeff Gordinier for The New York Times writes, “Jackson’s collection confirms the arrival of a thrilling new voice in American poetry, one whose writing, on page after page, has the fullness and glow of a jubilee.” Jackson lives with his wife and child in Columbus, Ohio, and teaches in the MFA programs at Ohio State and Queens University of Charlotte.
Blurred Lines—Hybrids Between, Within, and Among Prose Forms
July 19–23 / 1:15–3:15 p.m.
Oliver De la Paz
Course Description: In this workshop, we’ll attempt to understand what is meant by the terms “Lyric Essay,” “Flash Fiction,” and “Prose Poem.” Often, people suggest that writing in these shorter prose forms is liberating, but what exactly does that mean? Does the lack of line breaks serve a purpose or is it arbitrary for some prose poems? Does the shortness put a strain on the possibility of a narrative? Can a subject be fully explored in such short bursts? What is gained or lost with the addition of line breaks? These are some of the aesthetic ideas we will grapple with during this course as we read practitioners of the form as well as write in the “form” ourselves.
The workshop will, further, be a combination of reading and writing in an effort to redefine, reexamine, and reevaluate the nature of short prose forms. We’ll look at what makes them tick by examining various essays and writings by their practitioners. Flexible. (ages 18+)
Bio: Oliver de la Paz is the author of five collections of poetry, Names Above Houses, Furious Lullaby (SIU Press 2001, 2007), and Requiem for the Orchard (U. of Akron Press 2010), winner of the Akron Prize for poetry chosen by Martìn Espada, Post Subject: A Fable (U. of Akron Press 2014), and The Boy in the Labyrinth (U. of Akron Press 2019), finalist for the Massachusetts Book Award. He is the co-editor with Stacey Lynn Brown of A Face to Meet the Faces: An Anthology of Contemporary Persona Poetry (U. of Akron Press 2012). He co-chairs the advisory board of Kundiman, a not-for-profit organization dedicated to the promotion of Asian American Poetry and is a former member of the Board of Trustees for the Association of Writers and Writing Programs.
A recipient of grants and awards from the NEA, the New York Foundation for the Arts, the Artist Trust, and the Massachusetts Cultural Council, his work has appeared in journals like Virginia Quarterly Review, North American Review, Tin House, Poetry, and in anthologies such as Asian American Poetry: The Next Generation. He teaches at the College of the Holy Cross and in the Low-Residency MFA Program at Pacific Lutheran University.
What’s Pub Got to Do With It?
July 26–30 / 8–10 a.m.
Course Description: Publication is supposed to be the end of the line. Compose, rehash, share, revise, submit, wait….strike out, resend….and finally, publish! Yet, all the while the poem has undertaken its own wayward voyage as incarnations coalesce and reify, drifting far from its nascence. What if we internalized that other journey, imagining the poem as seen with different (and indifferent) eyes—and then go back and use that insight to generate new versions? In this course we will consider the role of publication, not as a final goal, but as part of the process of seeing the poem from new perspectives. We’ll look at journals to see where other poems like ours reside.
We’ll think of our poems’ place in the poetry world. We’ll explore our own poetic heritages. We will imagine we have come upon the poem as an editor does, for the first time, with no allegiance or commitment. We’ll stay with the poem, while at the same time letting it go. We’ll cast a cold (and warm) eye on our poems as they undergo the process of no longer belonging solely to us. Flexible. (ages 18+)
Bio: Philip Brady is the author of five books of poetry, a memoir, and two essay collections. His work has been awarded the Snyder Prize from Ashland Poetry Press, a Gold Medal from ForeWord, and Ohiana Poetry Award, six individual artist fellowships and the Governor’s Award from the Ohio Arts Council, and a Thayer Fellowship from New York State. He is the executive director of Etruscan Press and a distinguished professor of English at Youngstown State University. He also teaches in the low residency program at Wilkes University.
Our Surreal & Strange World
July 26–30 / 1:15–3:15 p.m.
Course Description: This class encourages you to look deeper into the things and people around you to unearth fantastical possibilities in your fiction. Through generative writing prompts and readings, we will play around with structure and form to explore how defamiliarizing the world allows us to see it more clearly. This supportive environment allows for participants to broaden their view of the writing practice, so they might see going on a walk, reading a story, talking to a friend as essential parts of the process, and by developing their perception to see the uncanny in the ordinary, participants will practice drawing from the richness of their own lives for their writing. Along with creating new material, we will also reflect on works-in-progress. By the end of the week, participants will have a firm grasp on various fiction techniques — deepening characters, shifting point of views, shaping narratives — along with a keen sense on how surreal elements can make a story come alive. Flexible. (ages 18+)
Bio: Akil Kumarasamy is a writer from New Jersey and the author of the story collection, Half Gods, published by FSG in 2018, which was named a New York Times Editors’ Choice, and was the recipient of the Bard Fiction Prize, Story Prize Spotlight Award and a finalist for the PEN/Robert Bingham Prize. Her work has appeared in Harper’s Magazine, American Short Fiction, Boston Review, among others. She has received fellowships from the University of East Anglia, the Provincetown Fine Arts Work Center, Yaddo, and the Schomburg Center for Research in Black Culture. She is an Assistant Professor at the RutgersNewark MFA program and her debut novel is forthcoming with FSG.
Approaching the Poem
Aug. 2–6 / 8–10 a.m.
Course Description: We’ll follow a fairly traditional workshop format here. In each class meeting we will read and discuss poems by the workshop participants. We’ll discuss issues of form and craft such as lines, line breaks, imagery, diction, and so forth. I will assign a poem for each class meeting, but if you’d prefer to workshop a poem you’ve written outside of the class that’s fine. I will also provide selected readings (available online) each week of poems and an occasional essay. Don’t worry: I won’t overwhelm you! My goal is to create a space (albeit virtual) in which we’re all comfortable and happy sitting down and chatting about our poems with a view toward making them stronger and more effective. My hope for the course is that every participant, from beginning writer to advanced practitioner, becomes a better writer, a better reader, and has a good time learning about what’s going on in the world of contemporary poetry. Flexible. (ages 18+)
Bio: George Bilgere and his family divide their time between Cleveland, Ohio, and Berlin, Germany. His poems have appeared in Poetry magazine, Kenyon Review, Best American Poetry, Field, Georgia Review, and elsewhere. His seventh collection of poetry is Blood Pages (2018). He has received the Midland Authors Prize, the May Swenson Poetry Award, a Pushcart Prize, a Witter Bynner Fellowship through the Library of Congress, a Fulbright Fellowship, an NEA grant, and the Cleveland Arts Prize. He is the 2020 winner of the Editors’ Choice Award in Poetry from New Ohio Review. Bilgere has given poetry readings at the Library of Congress, the 92nd Street Y in New York, and he read this past February at the Folger Shakespeare Library in Washington, DC. His work is familiar to NPR listeners through his appearances on Garrison Keillor’s A Prairie Home Companion and The Writer’s Almanac. He teaches at John Carroll University in Cleveland, Ohio, where he lives with his wife and two fine little boys.
Sense of Place in Personal Essays
Aug. 2–6 / 1:15–3:15 p.m.
Course Description: Place is both a launching point, and a powerful force for stasis. Place is a shared language, a familiar system of signs, and a vibe you can’t shake, no matter how far you fling yourself. When we ground our essays in a strong sense of place we perform a kind of magic, transporting readers in ways beyond imagined geography. In this class, by reading and responding to each other’s works in progress, we’ll embark in a shared discovery of ways to heighten sense of place to achieve deepened, layered meaning and image resonance. We’ll consider place both in terms of the sweeping (the South, the West) and the intimately specific (one’s garden). In exploring these and other nuances of sense of place, we may look at works by Ross Gay, Rachel Kushner, Terry Tempest Williams, Wendell Berry, Rivka Galchen, and Tiana Clark, and we’ll try our hands at short exercises designed to deepen existing drafts or provoke new pieces into being. Flexible. (ages 18+)
Bio: Susannah Felts is the co-founder and co-director of The Porch, a literary arts organization based in Nashville, Tennessee. She has been awarded the Tennessee Arts Commission’s Individual Artist Fellowship in Fiction and the Tennessee Williams Scholarship to the Sewanee Writers’ Conference, as well as residencies at the Ragdale Foundation, the Virginia Center for the Creative Arts, and the Hambidge Center for Creative Arts and Sciences. Her essays and fiction have appeared in publications such as The Best American Science and Nature Writing 2018, Guernica, Catapult, Literary Hub, Vol. 1 Brooklyn, Longreads, StorySouth, The Oxford American, and others, and her first novel, This Will Go Down on Your Permanent Record, was published by Featherproof Books.
The Only Way Out Is Through: Writing Poetry During Uncertain Times
Aug. 9–13 / 8–10 a.m.
Course Description: How difficult has it been to write and revise during the pandemic and a tumultuous 2020? Poetry as a conduit for empathy and connection has never been more essential. As we process the daily drip feed of news and information, how do we reconcile our roles as artists, citizens, agents of change, and caregivers? In this class, we’ll explore opportunities to reach for language not often found in poetry, reflect on the difficulty and significance of documenting moments of change, and discuss tools and strategies on how to hone or revise both new and old work. This is a generative workshop that will touch upon revision and the publication process. Generative. (ages 18+)
Bio: January Gill O’Neil is the author of Rewilding (2018), Misery Islands (2014), and Underlife (2009), all published by CavanKerry Press, and is an associate professor at Salem State University. From 2019-2020, she served as the John and Renée Grisham Writer-in-Residence at the University of Mississippi, Oxford. She lives with her two children in Beverly, Massachusetts.
Aug. 9–13 / 1:15–3:15 p.m.
T. Geronimo Johnson
Course Description: We’ll analyze the formal craft elements—narrative structure, character, point of view, style, detail, imagery, and theme. As we explore how these formal elements coalesce, we will identify specific technical strategies for achieving their intentions for the work. We’ll also discuss the social landscape within which this all occurs. Writers will leave with new material, new approaches to revising their work, and practical strategies for keeping readers emotionally and psychologically engaged. Flexible. (ages 18+)
Bio: A graduate of the Iowa Writers’ Workshop and a former Stegner fellow, T. Geronimo Johnson is a recipient of the Saroyan International Prize for Writing, the Ernest J. Gaines Award, and the inaugural Simpson Family Literary Prize. His first novel was a finalist for the PEN/Faulkner Award and selected by the Wall Street Journal Book Club. His second novel, a national bestseller, was shortlisted for the Hurston Wright Legacy Award, longlisted for the National Book Award, and longlisted for the Andrew Carnegie Medal for Excellence in Fiction. He’s also been a finalist for The Bridge Book Award, a finalist for the Mark Twain American Voice in Literature Award and included on Time Magazine’s list of the top ten books of the year. Johnson has served on the jury for the FAWC in Provincetown and as a judge for the National Book Award. He is a fellow of the American Academy in Rome.
Verb, Pure Verb
Aug. 16–20 / 8–10 a.m.
Course Description: Poets are first and foremost people who have fallen in love with language—the sounds of words in the air, the shape of letters on the page. In this workshop we will emphasize both elements of language— what we write in poems but also the “ordinary” words we speak every day—to explore the full range of what “poetic language” can be. Our goal will be not only to write poems, but to fall in love with words— whether for the first time or all over again. Flexible. (ages 18+)
Bio: Dave Lucas was born and raised in Cleveland. He studied literature and poetry at John Carroll University (BA, 2002), the University of Virginia (MFA, 2004), and the University of Michigan (PhD, 2014). His first book of poems, Weather (VQR / Georgia, 2011), received the 2012 Ohioana Book Award for Poetry. Named by Rita Dove as one of thirteen “young poets to watch,” he has also received a “Discovery/The Nation Prize and a Cleveland Arts Prize. From 2018—19, he served as the Poet Laureate of the State of Ohio. A co-founder of Cleveland Book Week and Brews + Prose at Market Garden Brewery, he lives in Cleveland, where he teaches at Case Western Reserve University.
Time and Memory, Memory and Time
Aug. 16–20 / 1:15–3:15 p.m.
Course Description: In this workshop, we’ll create a series of short narratives that will explore the relationship between memory and time. As we create mosaics of remembered raw material, certain questions will very likely rise to the surface: How does the passage of time bring meaning to what we remember? How does what we remember influence our relationship to our own lived time? How does our understanding of time—as circular or linear, fluid or organized—influence the stories we tell? Each day, we’ll begin by looking at passages (in a variety of genres) that consider these questions of time and memory; we’ll then use these passages to help us generate our own material. Ultimately, we’ll shape and revise our drafts into powerful narratives that will help us claim our remembered pasts as our own. Flexible. (ages 18+)
Bio: Jaed Coffin is the author of Roughhouse Friday (FSG), a memoir about the year he won the middleweight title of an Alaskan barroom boxing show, and A Chant to Soothe Wild Elephants (Da Capo), which chronicles the summer he spent as a Buddhist monk in his mother’s village in Thailand. A regular contributor to Down East Magazine, Jaed’s work has appeared in the New York Times, Nautilus, and The Sun as well as the Moth Radio Hour and TED Channel. He’s served as a fellow at the Bread Loaf Writers Conference and currently teaches in the MFA program at the University of New Hampshire. Jaed lives in Maine with his wife and daughters.
Aug. 23–27 / 8–10 a.m.
Sally Wen Mao
Course Description: What are the functions of science fiction, mythology, fairy tales, utopias, dystopias, horror, fabulism, and magic in poems – is this even possible in a genre that eludes narrative and traditional story structures? How does poetry expand the possibilities of speculation? In this class we will look at many poetry collections with tropes imagining “another world,” playing with tropes that are at once both familiar and strange, whether that is the world of fables or imagined futures. Flexible. (ages 18+)
Bio: Sally Wen Mao is the author of two collections of poetry, Oculus (Graywolf Press, 2019), a finalist for the Los Angeles Times Book Prize, and Mad Honey Symposium (Alice James Books, 2014). The recipient of a Pushcart Prize and an NEA fellowship, she was recently a Cullman Fellow at the New York Public Library, a Jenny McKean Moore Writer-in-Washington at the George Washington University, and a Shearing Fellow at the Black Mountain Institute. Her poetry and prose have appeared in The Best American Poetry, The Paris Review, Poetry, Harpers Bazaar, The Kenyon Review, Guernica, and A Public Space, among others. She is a Kundiman fellow in both fiction and poetry.
Jumpstarting and Revising
Aug. 23–27 / 1:15–3:15 p.m.
Course Description: In this workshop for writers at all levels of experience, we’ll use daily prompts — images, poems, and warm-up exercises — to generate prose narratives that can be fictional, nonfictional, or hybrid. Then comes the stimulating and rewarding work of revision: figuring out why, where, and how to alter our drafts. At the end of the week, writers will feel newly confident in their ability to burnish what they’ve written so it gleams. Flexible. (ages 18+)
Bio: Martha Cooley is the author of three novels—The Archivist (a national bestseller published in a dozen foreign markets), Thirty-Three Swoons, and Buy Me Love, forthcoming in June 2021 – as well as a memoir, Guesswork. A Professor Emerita of English at Adelphi University, she has published short fiction, essays, and co-translations in numerous literary magazines.