More Sonnets from the Portuguese by Janet C.M. Eldred

Janet C. M. Eldred
More Sonnets from the Portuguese 

Whitepoint Press 
https://whitepointpress.com/our-books/


By the numbers 

ISBN 1944856064 
Publication: 2016
Total pages: 86 
Number of poems: 52

I met Jane C. M. Eldred in a 24PearlStreet class. She was working on what she called a  "longish sonnet sequence" that intrigued me. When her publisher asked  me to review More Sonnets from the Portuguese, I was excited to see the completed project. While Janet has other works of prose, this is her first book of poetry.

 —Nancy Chen Long

__________

Janet C. M. Eldred grew up in California's San Joaquin Valley. She is currently Chellgren Professor at the University of Kentucky where she teaches creative nonfiction, editing, and literature in the English Department. She is the author of Sentimental Attachments (Heinemann, 2005), a volume of creative nonfiction, and Literate Zeal: Gender and the Making of a New Yorker Ethos (University of Pittsburgh Press, 2012), a look into the editing practices and editorial secrets of The New Yorker magazine.

__________

Janet C. M. Eldred's first book of poetry More Sonnets from the Portuguese is a story-in-verse, a book of sonnets that chronicles the rekindling of an old romance that occurs when two college lovers find each again on the internet. The title and premise of the book are inspired by Elizabeth Barrett Browning's famous book of love poems Sonnets from the Portuguese. Browning began the sonnet sequence while she and Robert Browning, who would later be her husband, were courting. Robert's nickname for Elizabeth was "little Portuguese," hence the title of her book Sonnets from the Portuguese. While there was nothing really "Portuguese" about Browning's book, in Eldred's book, the main character, Zélia Nunes,  is an Azorean-American widow who lives in California’s San Joaquin Valley who is learning to speak Portuguese.

The sonnets in More Sonnets from the Portuguese are cast in traditional forms and rhyme schemes as well as unconventional ones. Take for example "And Yonder Break," a thirteen-line sonnet that is a text-message exchange between the two lovers, complete with the lines being placed in message bubbles. The poems read as dramatic monologues that make use of apostrophe—Zélia addresses her lover who is not actually there. In the monologues, Eldred skillfully includes specifics that flesh out the lives of the lovers, offering quick details for context. For example, in the first poem "I am a Sensible Woman," we learn some basic facts about  Zélia: 

I Am a Sensible Woman

I—Zélia Nunes— sensibly married
only once. Forty-five, no longer young.
Husband dead, four children, mortgaged, harried.
Holy obligations met, even sung.
Dinner cooked. Children washed. The laundry hung.
The me that was long before is ferried
through the rank weeds of troubles—piled, carried,
dumped in a heap with diapers and dung.

At end of day I fall asleep, buried,
in a life first quarried, then washed and wrung,
stacked, in no particular way, varied.
The children cry out, a hard burst of lung.
          At night, under cover, I conjure you.
          At daybreak I awake, dressed, blessed with dew.

And in the poem "Nacre," we learn of a miscarriage ("When I lost what was left of you—boy? girl? all /  these years—does it matter that I, you, never / knew?")  Eldred also offers details about Zélia's lover as well. We read that he is now is a "VP in the Valley of Silicon" ("Don't Look Back") who is Indian ("Portuguese and Indian can and do mix," "Learning Our History") and that he is currently married ("Of course I have a crush / on you—or would, if you weren’t so well married," "Flashing.")

More Sonnets from the Portuguese is divided into six named sections. Each section title has the word time in it, for example the first section is titled "Resurrection and the Time of Speaking in Tongues." As that section title suggests, Eldred blends the sacred and the carnal in these poems. The blending of the two is a binding theme of the book. For example, in the poem "The Confessional,"  after an intimate encounter ("no / separation now. Together we make / sounds, old and familiar, until new ones come") that occurs either in her imagination or in real life, Zélia proclaims:

I confessed you years ago. What is there
to whisper now for partial indulgence?
Only this blasphemous sin: You have become
my priest, my confessor. I finger
my beads, count so many Our Fathers, so
many Hail Marys. No absolution.

The book also lingers a bit in Zélia's childhood. The second section titled "Extraordinary Time" contains a sequence of poems that are an extended treatment her father and the family's pet rabbits. This sequence turns on the motifs of death and of heat and thirst, for example in the poem "Animal Husbandry" Zélia shares that her father "grew up on a small farm, poor. He knew what to feed rabbits," but that, after moving from the Azores, he "didn't anticipate how [the rabbits] would suffer in San Joaquin heat" ("Holding the Quick Shiver.")  Another  poem in this sequence, "I Have Always Been Careless," demonstrates Eldred's skill with image and juxtaposition. She deftly brings the narrative arc from that of her childhood and father back to the love story by juxtaposing a scene of rabbits, death, heat, and thirst with a scene of  her lover in the shower. In the poem (which you can read here), the first stanza concerns Zélia's rabbit who was convulsing, dying from thirst, and her father's quick action in what could be read as a mercy killing. In the second stanza, Zélia's lover is in the shower with her. Eldred establishes a compelling parallelism between the rabbit scene and the shower scene. Both stanzas have someone with ample water and someone who thirsts. Both stanzas have someone who is careless and someone who suffers from neglect due to the carelessness: In the first stanza (the dying rabbit scene), Zélia is the one with ample water (“the city pool”) and the rabbit is the one who is dehydrated (“his bowl / of water dry”). In the first stanza, it is Zélia who is careless and the rabbit who suffers from neglect. However, in the second stanza (the shower scene), it is the lover who has the ample water ("cool water flowing," "shower") and Zélia who is dehydrated ("I thirst"). This sets up a parallelism which transfers the attribute of carelessness to the lover (the one with water) and the expectation of suffering to the narrator, Zélia. In the final couplet "My dear, you probably shouldn’t be / in my shower, yet through some grace, you are," the word grace hints at something positive and uplifting. However, since Zélia's lover is not actually there at this point, it makes the poem more poignant, as if the water were a mirage, as if her lover and/or their love were a mirage as well.

In addition to death, heat, and thirst, other motifs in the book include fire, destruction, husbandry, and one that I find especially intriguing—technology. Technology is critical to the story, since the lovers reconnect online.  References to technology are peppered throughout the book. For example, the poem mentioned earlier, "And Yonder Breaks," is made up entirely of texts. Poems mention social media, e.g., "photoshopped Facebook fluff" ("You Knew Me Then")  and "an admirer on Twitter who goes un-blocked, unfollowed ... A mere Facebook friend can leave a trace" ("If a Tree Falls in the Forest... .") There are references to computers and hardware, e.g. "I am officially a Kindle / girl—I just bought one—" ("Kindling") and "the bright LEDs of a Silicon Valley night" ("Steadfast.") One poem even involves an online game: "I want to warn / you, Hug your loved ones. Beware the cyber / Day of Zélia’s Warning, the public scorn." ("Day of Zélia’s Warning" is name of a holiday in Elanthia, an online world of the medieval fantasy game called DragonRealms.) While Eldred applies the sonnet form to the classic subject of love, the generous inclusion of technology lends a decidedly contemporary quality to the poems.

The theme of religion threads the book together not only in diction and imagery, but in structure as well. There are 52 poems, completing a liturgical year. There are six sections, each of which can be mapped to six seasons in the Catholic Church's calendar. The invocation of a liturgical cycle becomes evident in the penultimate section "Ordinary Time." For example, "Fast Tuesday, or or Time to Shatter the Bones," has a strong pre-Lenten feel to it. Fat Tuesday is the last day of Carnival, a celebration that historically includes, in some places, the indulgence of sexual desires. It's the day before the start of Lent—Lent being a time of self-examination and reflection—which can be detected in the reflective tone of the poem, e.g., “I thought of you when my husband was alive. / I felt that certain specific happiness, / one that in some odd way, I could count on.”  At the end of the poem, Zélia tells her lover “it’s time to shatter those bones again, / this time, exhaustively, lovingly.” When taken in light of Lent and the impending crucifixion, those lines about shattering bones suggest a metaphorical gesture to hasten the death the love of the affair: a person’s legs were usually broken after being crucified to speed up their death. 

The liturgical and Lenten emphasis becomes even stronger in the last section titled "The Time of Atonement." That emphasis can be seen in the poem titles themselves, e. g., "Lenten Dreams," "Prayer of the Penitent," "Act of Contrition, "Memorial," "A Ritual for Letting Go," "Liturgical Time." The liturgical calendar is explicitly referenced in the poem "Liturgical Time." (The poem is printed below.) In the poem, the speaker is contrite and proclaims a dependence on grace, living moment to moment through repeating cycles of life, and through the seasons of  Ordinary Time, those enumerated weeks that fall outside the major seasons, suggesting an ordered life of quiet growth and maturation.

More Sonnets from the Portuguese is an ambitious sonnet sequence, given its marriage of the religious and the carnal and its strong parallels to Browning's acclaimed book Sonnets from the Portuguese. Eldred's sonnets are varied and skillful and her ability to maintain a narrative in lyric form is admirable. Her use of playful language and the role she gives to technology bring a freshness to a classic story line.

__________

Liturgical Time
by Janet C. M. Eldred

Again this year the cross is hollow. It’s light
to carry. The words are given as grace,
that I may know how frail I am. White
vapor, our restless aims…Sin’s translucent trace.
I fear I won’t make three Good Friday,
without-you hours in silent reflection.
But maybe, for one hour I can endure, pray,
my pale, pale beat of faith a prediction—

One hour leads to one more uncorrupted
hour until grace leads long hours to days,
to weeks, the cycle uninterrupted
year after year of advent, pain, and praise.
Endure suffering. Rejoice the risen.
Dance in tongues. Ordinary Time again.


"I Am A Sensible Woman" and “Liturgical Time,” © Janet C. M. Eldred More Sonnets from the Portuguese (Whitepoint Press, 2016)

---

Nancy Chen Long is a National Endowment of the Arts creative-writing fellow. She is the author of Light Into Bodies (Tampa University Press, forthcoming 2017), which won the Tampa Review Prize for Poetry, and Clouds as Inkblots for the Warprone (Red Bird Chapbooks, 2013). You'll find her recent and forthcoming work in Prairie Schooner, Ninth Letter, Alaska Quarterly Review, Pleiades, Zone 3, Briar Cliff Review, Bat City Review, and elsewhere. Nancy received a BS in Electrical Engineering Technology and an MBA, worked as an electrical engineer, software consultant, and project manager, and more recently earned her MFA. As a volunteer for the local Writers Guild, she coordinates a reading series and works with other poets to offer poetry workshops. She lives in south-central Indiana and works at Indiana University.

Sibelius Kullervo Kortekangas Migrations: Minnesota Orchestra

I'm thrilled that Kortekangas set my poems into the music.  "Migrations" is well matched to the driving and intense Kullervo, composed by Sibelius.  The Minnesota Orchestra performance, conducted by Osmo Vänskä, recorded here on CD, is stunning and beautiful.

Here are awesome reviews:
The Guardian:
https://www.theguardian.com/music/2017/feb/23/sibelius-kullervo-etc-kortekangas-migrations-cd-review-vanska-minnesota-orchestra?CMP=share_btn_link

Helsinki Sanomat:
http://www.hs.fi/kulttuuri/levyarvostelu/art-2000005097084.html

San Francisco Chronicle:  http://www.sfchronicle.com/music/article/Sibelius-Kullervo-review-10934690.php

Klassik Heute (Germany)
http://www.klassik-heute.com/4daction/www_medien_einzeln?id=22157

Pizzicato: Remy Frank's Journal about Classical Music (Luxemburg)
http://www.pizzicato.lu/finnisches-vom-feinsten/

Infodad.com / TransCentury Communications
http://transcentury.blogspot.fi/2017/03/new-explorations.html

MusicWeb International (United Kingdom)
http://www.musicweb-international.com/classrev/2017/Mar/Sibelius_Kullervo_BIS9048.htm#

Finnish Music Quarterly
http://www.fmq.fi/2017/05/minnesotan-memories-of-migration/

Crescendo Magazine (Belgium) Apr 7, 2017
http://www.crescendo-magazine.be/limmigration-finlandaise-en-musique/

The CD is available anywhere, but also at: http://www.minnesotaorchestra.org/buy/merchandise/cds-a-merchandise

To get the poems:  http://www.wildwoodriver.com/  The four poems are drawn from the books Cloud Birds and Echo and Lightning.

RondoClassic Magazine. (Helsinki, Finland):

Poet Laureates and Presidents

The Poet Laureate Consultant in Poetry to the Library of Congress, as they’re formally known, is appointed by the Librarian of Congress for a one year term, serving from October to May, though it is  fairly common to renew a Poet Laureate’s term for an additional year.

While the Poet Laureate’s primary duty is to write poetry that reflects the pulse of the nation, poets are also tasked with carrying on the legacy of former Poet Laureate Allen Tate by recruiting poets and authors to contribute to the Library of Congress’ Archive of Recorded Poetry and Literature. Since the archive’s inception in 1943, over 2,000 writers have contributed audio recordings of their work.

Who might serve in the post under President Trump?

US Poet Laureates and the Presidents They Served Under, by My Poetic Side

Inauguration Poems: A Democratic Tradition

Robert Frost at the inauguration of JFK in 1961

Summoning artists to participate

In the august occasions of the state

Seems something artists ought to celebrate.

  - from "Dedication" by Robert Frost

Donald Trump's inauguration did not feature a poet and a poem for the occasion. Does a poem on that historic day - or the absence of a poem - have any larger significance?

Former Poet Laureate of the United States Rita Dove said, "When you hear a poem, you both feel it enter you, but you also have to rise to meet it. That pulls the citizen in you out, into the air. That's why I think it's important and meaningful to have a poem read at a swearing-in of a president."

Occasional poetry has a much longer tradition than our country. Rita Dove was asked to read her poem, "Lady Freedom Among Us," at the bicentennial of the laying of the cornerstone of the Capitol in 1993.

Maya Angelou read "On the Pulse of Morning" and Miller Williams read "Of Hope and History" for Clinton's ceremonies.

I recall being excited that Robert Frost would read at John F. Kennedy's inauguration. He wrote a poem for the day titled "Dedication" (later retitled "For John F. Kennedy His Inauguration") but had trouble reading the sheet in the bright sunlight and so recited from memory his older, shorter poem, "The Gift Outright."

In 2009, Elizabeth Alexander read "Praise Song for the Morning," composed for the occasion of Barack Obama's first inauguration. Richard Blanco read "One Today" when Barack Obama was inaugurated for his second term.

It is so odd that only these three Democratic presidents have had a poet at their ceremony. That really doesn't make sense to me. There are certainly many Republicans who read and write poetry. It is a tradition that should not be followed by only one party.


The Gift Outright
Poem recited at John F. Kennedy's Inauguration
by Robert Frost

The land was ours before we were the land’s
She was our land more than a hundred years
Before we were her people. She was ours
In Massachusetts, in Virginia,
But we were England’s, still colonials,
Possessing what we still were unpossessed by,
Possessed by what we now no more possessed.
Something we were withholding made us weak
Until we found out that it was ourselves
We were withholding from our land of living,
And forthwith found salvation in surrender.
Such as we were we gave ourselves outright
(The deed of gift was many deeds of war)
To the land vaguely realizing westward,
But still unstoried, artless, unenhanced,
Such as she was, such as she will become.

On Advocacy & Disability in the Creative Writing Community

I don't usually bother checking the stats for this blog, but I was curious about my last post, which was shared among the community of those who attended the recent AWP Conference, predominantly writers and teachers of creative writing. 3,500+ views! That's a lot of views. If you used it to guide your visit, I hope it was helpful. I hope you went to a panel or two. I hope the Metro got you where you needed to go. I hope you ate well in D.C. 

If you were at the Walter E. Washington Convention Center on Saturday afternoon, you may have witnessed a protest form of people linked arm in arm, chanting. This was inspiring for many. That said, consider how anxiety-inducing that kind of formation might be for someone with mobility issues. Consider the irony for those in the "Writing With and About Dis/Ability, Dis/Order, and Dis/Ease" who could no longer hear our own dialogue: a group whose lives are under threat via the current administration. Consider that at 6:30 PM, there were folks in the hotel bar instead of in front of the White House--not because they did not sympathize with the goals of the Split This Rock candlelight vigil, not because their voices shouldn't be counted, but because that kind of physical activity is not realistic or safe. Get real about the fact that by 10 PM, many in that same group would find the hotel bar a nightmarish, jostling space in which boundaries and balance are not protected.  

For many, this was a successful and vibrant conference, and a gathering infused by heightened political awareness and real urgency about the state of American affairs today. For all who brought their voices and energy, thank you. For all the planning aspects that AWP as an organization got right--and there were many--thank you. 

But if you came and went from the AWP Conference thinking it was nothing but a literary lovefest, you missed a substantive conversation about access, disability, and inclusion. I want to revisit that conversation here because it is not too late to make your feelings about these concerns heard. Many of you have a survey sitting in your email inbox, asking for feedback about the conference experience. Don't just reply on your own behalf. Advocate. 

What if all 3,500+ people who visited this blog for my last post were to advocate on behalf of writers with disability, and writers within the D/deaf community?

Let's keep it relatively simple--a few trees in the larger forest. 

-There were 20+ panels this year with themes relevant to disability! The "Advanced Search" option for the schedule should allow one to seek these out. 

-An "Accessibility Desk" that requires physical access in order to seek assistance is...ironic. The Accessibility Desk should have an associated hotline for phone queries from conference attendees, with either a TTY or real-time text messaging option for those who are D/deaf. 

-AWP Conference events explicitly affiliated with disability (or upon request) should be assigned rooms with accessible performance spaces--ramps to a stage, or no stage at all--and the doors to such rooms have push buttons, or assigned attendants who will manually open / close doors for conference-goers for the duration of the event. Ideally this would be the case for ALL events, but I'll take what I can get. (Photo of stairs leading to the stage in the room for Friday's Disabled & D/deaf Writer's Caucus, courtesy of Jennifer Marie Bartlett. The group circled around on the floor instead.)

And I want to say here: it'd be unfair to put blame on the current events coordinator for failure to serve all constituencies and needs simultaneously. One person cannot be everywhere. AWP needs to hire a professionally trained coordinator responsive to ADA compliance issues, or sponsor that training in-house, and that person should then be compensated for time spent responding specifically to these issues. 

-AWP has done quite a bit to expand the scope of their "Accessibility Services" in recent years, and that should be applauded. But the requirement that conference participants seeking ASL translation, Cued Speech Transliteration, or CART services file their requests, specific to the panel, a month in advance is ableist. Any AWP Conference-goer can attest that spontaneity and freedom to change plans are hallmarks of the experience. Aware of this issue and hoping to circumvent, at least one set of panel organizers requested translation services on principle--based on the event's stated theme, anticipating audience attendance, wanting to welcome all. This request was met with resistance. 

-The $50 replacement fee for badges is poised to intimidate and disenfranchise those who, because of neurodivergence issues, tend to lose things. Quickly doubling back to grab a forgotten badge may not be realistic for someone with mobility issues. There needs to be stated accommodations for those with complicating medical conditions when it comes to badge replacement. 

-Caucus meetings need to be scheduled in a manner sensitive to intersectionality, and should not "compete" by being given the same time slot. (Thanks to Metta Sáma for orienting me to the importance of this.)

Did you notice this, when you looked at the Conference Schedule grid?

...regardless of intent, stacking caucuses in the schedule undermines people's efforts to advocate in regards to multiple identity issues. They are forced to choose. 

Fierce and talented people such as Quintan Ana Wikswo have written about this. Fierce and talented people such as Stephen Kuusisto have written about this.

Make no mistake, there are people within the structure of AWP, on the staff and on the board, who prioritize these issues. There are others who do not. The only way change will happen is if those who wish to make policy changes, and allocate the budget to implement them, can point to a significant constituency that shares these concerns. Those lobbying can't just be those directly impacted. We need allies. 

I spent my first decade in the writing community opting out of open affiliation with disability. I compensated for my needs and refused to ask for help or accommodation; I hid reactions when in literary spaces. I say this with embarrassment but also empathy for my younger self, because I believed that to incorporate the realities of a medicalized body made me less attractive as a writer. That is a stance conditioned and affirmed, over and over, by our society. This is also a privilege of my having a disability that, though chronic, can be managed largely through preemptive action and only periodically manifests itself.

The literary world has a long way to go in incorporating and honoring writers with disability. Those creating syllables, anthologies, and reading series with an eye towards "diversity" rarely factor representing writers with disability the same way they might actively seek out representation of queer voices or voices or color. Submittable, other online submission formats, and websites of journals? Often not accessible for those who have visual impairment. Even when articles and books written by those with disability and chronic illness receive standalone attention, there is a tendency to frame out a fight narrative, featuring a traditional plot arc of conflict, catharsis, and resolution--and oooh, bonus if you're cured. This is inspiration porn.

Fierce and talented people such as Karrie Higgins have written about this.
Fierce and talented people such as Alaina Leary have written about this. 
Fierce and talented people such as Tipsy Tullivan make videos about this and good glory, if you have not seen these you are missing out. 

I revisited this decision to pass as living without disability when I published a memoir and cultural history of food allergies in 2011. Because of amazing and forthright readers, I found myself in conversation with people experiencing anxiety, exclusion, and outright discrimination because of their own dietary restrictions. To not speak up, as someone gifted with a book contract in tandem with my own pervasive and life-changing dietary restrictions, would be pretty damn hypocritical. 

Here's the thing about speaking up: it's terrifying. And you will get it wrong. 

You. Will. Get. It. Wrong. You will need to apologize, occasionally. You will need to listen, always. You will need to accept that your ego (used to being articulate and accurate and elegant, as so many writers pride themselves on being) is less important than the opportunity to learn.

I say this as someone who often gets it wrong. Who once met a favorite poet, one with quadriplegia, and promptly attempted a handshake. Who sometimes forgets the importance of using the microphone, even if you can project your voice. Who prefers to speak extemporaneously and sometimes balks at preparing scripted handouts. Who had to take a step back and realize her classroom practice had, for years, advantaged those who speak quickly and clearly. Who works with a nonprofit in D.C. that she loves, but has stairs instead of ramps and no operating fund for translation services. Who in the past used the metaphors of "sight" and "blindness" unmindfully, without respect to those whose literal experiences are being appropriated. 

I am speaking up not as a role model, but as someone who can do better. I figure it out day to day. I screw up day to day, but I'm trying.

I'm astonished by the number of writers in our community who prefer to avoid accessibility issues entirely, versus risking getting it wrong. Are you clear on what you're pushing to the margins? People. Fellow writers. Voices you need to hear. Voices that--guess what--might someday include your own. Living with disability is something that can happen to anyone, at any time. 

For two AWP events, I made a request in writing to my fellow panelists: "Please bring a few extra copies of any poems you intend to read printed in large font (~14 point), double-spaced, on paper you can give away to an audience member. This gesture is endorsed by the Disabled & D/Deaf Writers Caucus as a way of welcoming and including those with hearing difficulty, who may struggle to follow your reading in real time in a noisy space." I wasn't asking for anything extraordinary--AWP (again, to their credit) already has this embedded in their guidelines for presentations.

One person complied. (Nicky Beer! She rocks.) We made an announcement early on, offering handouts for those with need. Every available copy I had was claimed and I wished I'd had more. The demand is real. The opportunity to include is real. 

This year's AWP Survey gives you thirteen options to describe your gender, and seven options to describe your race/ethnicity.

...all those options, all that awareness, yet the AWP Survey does not have a checkbox under "Attendee Demographics" inviting you to self-identify as a writer living with disability. Much less a break-out for sensory impairment, mobility impairment, neurodivergence, and other categories--all of which would help them protect the specific needs of conference-goers. The only reference to disability is the opportunity to rate the "Accessibility Desk" as a "most helpful" or "least helpful" factor in one's conference experience. That's a funny phrasing, because checking "least helpful" can be interpreted as least relevant to my needs. When in reality, checking "least helpful" might mean biggest letdown.

Do I want to celebrate the things that we, as a literary community, do well? Of course. I love writers. I bring a deep, abiding, and celebratory spirit to moving through this world as a writer. That said: we can do better. We have to. 

Heading to AWP

Terrapin Books

On Wednesday I'll be driving to Washington DC to participate in this year's AWP. I haven't been since 2007 when it was in NYC. I thought that one time would suffice for a lifetime, but then I didn't have Terrapin Books. Also, I was invited to be on a panel this year and since I have never served on one, I thought I should give it a try. Then I thought, too, that this would be a good opportunity to introduce my press, some of our books, and some of our poets to the poetry world. So I forged ahead. I have a full schedule.

I'll be driving as I wanted to take the books with me rather than have them shipped. I'll be staying at the conference hotel, the Marriott Marquis. Hideously expensive so it better be nice. It's at least very conveniently attached to the conference center—there's a covered concourse leading from one to the other. Once I arrive on Wednesday, a valet will park my car; I'm not allowed to park it myself. That's $55 per day! Outrageous! Then I can't go into the garage to get anything out of my car—have to have a valet bring the car out and then back in—so I'll have to unload all my stuff when I arrive. I hope I can find someone to help me lug my stuff inside and then up to my room. Books are heavy.

In order to facilitate introducing the press, I booked a table in the Book Fair. I'll be sharing that with Storyscape, a journal. The table is #525T. Come visit and check out our books.

The panel I'm on is on Thursday, 4:30-5:45 PM. It's called "The Independent Press Anthology: Focusing, Editing, Organizing, Designing, Publishing, and Marketing," and will be moderated by Lucille Lang Day. I'm one of five editors/publishers. The others are Wendy Barker, Bryce Milligan, and Claire Ortaldo. Look for us in the Supreme Court Room (level 4), Marriott Marquis Hotel, 901 Massachusetts Ave.

Then I also booked a venue for a Terrapin reading. It was very challenging trying to find a place in DC when I'm in NJ. I found quite a few—but was not willing to pay $1000. Finally, though, I found the Methodist Church, 900 Massachusetts Ave. NW, which is right next door to the hotel. Perfect!  The reading will be on Thursday from 7:00 - 9:00 PM. Three of my poets will first read from their new books:
       Patricia Clark, The Canopy
       Jessica de Koninck, Cutting Room
       Christine Stewart-Nunez, Bluewords Greening
These three poets will be followed by a group reading for The Doll Collection. Poets include Kim Bridgford, Jessica de Koninck, Lori Desrosiers, Roberta Feins, Ann Fisher-Wirth, Kelly Fordon, Alice Friman, Donna Hilbert, Julie Kane, Lori Lamothe, Christina Lovin, Kim Roberts, Hayden Saunier, Enid Shomer, Lauren Goodwin Slaughter, Elaine Terranova, J. C. Todd, Kristin Zimet.
Please join us! Should be fun.

I hope I survive Thursday—very full day.

Friday three poets will have book signings at table #525 as follows:
       Christine Stewart-Nunez, Bluewords Greening, 11:00 - 11:30
       Jessica de Koninck, Cutting Room, 11:30 - 12:00
       Patricia Clark, The Canopy, 12:00 - 12:30

Please stop by, get a book, and have it signed.

So (If) You're Going to AWP

You registered. You bought the plane ticket. You packed the bag (nope, just kidding, you still need to do the laundry before you can pack the bag). You paired up with the writer you hope you still like after four days of sharing a hotel room.

Or: Maybe you're not going to this year's AWP conference. Maybe you couldn't get time off of work, or coverage for childcare, or travel is too expensive. Maybe crowds aren't your thing. Maybe you feel the community of AWP needs to step up to greater inclusivity and accomodation, and until that happens it is not your job to navigate unwelcoming waters. Maybe you're thinking there are more important issues at stake in the world right now, and you'd rather focus your energy on protest and advocacy. 

You don't need me to validate these choices, but for what it's worth your concerns are valid, and you are not alone. Anyone who tells you that the AWP conference is a necessity to your writing career is buying into a gatekeeper mentality that I refuse to purchase. All of what makes American letters worthwhile is not going to be hanging out in a single VIP suite at the Marriott Marquis. 

That said, the conference is a great resource for extroverts (which I am) and introverts (which I am), and this year it is on my doorstep in Washington, D.C. So I'll be there. And because I've been part of no less than a half-dozen "How do I handle AWP this year?" conversations, I'll offer a few tips. 

Getting Around Town

If you're relying on WMATA's metro, familiarize yourself with the map. In particular, note the triangle created by the Mount Vernon / Convention Center stop (Yellow and Green lines), the Gallery Place / Chinatown stop (Yellow, Green, and Red lines), and the Metro Center stop (Red, Orange, Blue, and now Silver lines); this zone, within walking distance of the conference for the able-bodied, is your portal to all parts of the city plus into Virginia and Maryland. Sometimes if you're dashing to catch a train, knowing which end station you need to head toward heads off crucial confusion (for example, "Greenbelt" to go north on the Green line, versus "Branch Avenue" to go south). 

If you rely on escalator and / or elevator access, use the WMATA site to check for day-of outages. Many DC metro stations are significantly below ground.  

Buy a card for multiple rides; you can donate leftover farecards to Martha's Table or Miriam's Kitchen, an initiative that began with the recent march. Remember that unlike New York's subway, you need to show your card at the beginning AND end of your ride, so keep it handy. Trains run markedly faster during rush hour, which can be the difference between a four-minute wait and a fourteen-minute wait. Changing lines outside rush hour can also add significant time (as much as 18-20 minutes). Have a back-up plan for getting back to the hotel after midnight. 

For app-based rides your options include Uber, Lyft, and Curb. I know that Uber is not in favor, but note that they will connect you with wheelchair-accessible taxis. 

If you're driving, installing the Parkmobile app on your phone will save a lot of hassle with meters, which are typically limited to two hours downtown (further out, also limited unless you have a zone sticker). Anticipate difficulty parking in neighborhoods naturally busy on a Friday or Saturday night, including downtown, Georgetown, H Street, and Adams Morgan. 

Onsite Schedule: General Tips

Do you do well with phone apps? If so, here you go.

Do phone apps overwhelm you? (They do me.) If so...

These are maps specific to the 2017 Conference. Print out two sets.
These are schedules specific to the 2017 Conference. Print out two sets. 

If you pack a seal-top coffee mug that you trust not to spill, you can 1) sip while walking the book fair floor and 2) rinse out and refill it with water for the rest of the day (there are generally pitchers or carafes of water at the back of the conference rooms). Pack a few snacks, particularly nuts or some other simple protein, fruits, and vegetables--I'm a fan of carrying carrot juice. Pack tissues, a legal pain reliever, an illegal pain reliever, and one of those travel toothbrushes. 

Aim for three official AWP conference events per day--a panel and two readings, or vice versa. In my first few years, bright-eyed, I aimed for two of each. Godspeed if that works for you. Over the years I've learned to follow people, not topics. If I find someone who is articulate, spontaneous, funny, and resonant with my own thoughts toward poetry or nonfiction or life in general, I'll show up to watch them talk about watching paint dry. 

If, on the other hand, I show up to an event and the person I really wanted to see had to cancel participation, I will get up and quietly slip out. Life is too short. Leaving ten minutes in, or twenty minutes out from the end (especially if the event is in Q&A) is okay. Try to be inconspicuous. What's not okay is to block an aisle by lurking at the back of a small room--which hinders accessibility--in case you want to leave. 

Tributes in which the featured writer is alive are celebratory and often illuminating. I understood Charles Wright's work much better after attending the one for him, even as a former student of his. 

Posthumous tributes, while emotionally draining, are also often really good. You're seeing fellow writers direct their attentions outward, and fantastic anecdotes (on the record and off the record) rise to the surface. I'll always remember the one I attended for Craig Arnold. I wasn't even that familiar with his work before attending, but I sought the poems out afterwards. The one for Lucille Clifton was standing room only. 

There is usually a late-afternoon window of readings by conference sponsors, staged in rooms big enough that you can freely float in / out, or have a notebook out while the event is taking place. Graywolf, Poets House, Cave Canem, and Copper Canyon are a few of the commonly associated names. Look for those, as they are a good way to get a taste of what rising stars and mid-career writers are up to, even as your overall ability to focus is flagging. I attended a great one last year with Leslie Jamison, Maggie Nelson, and Geoff Dyer.

Give yourself an hour of book fair browsing each day. I usually center this on a friend or former teacher's table-side book signing. Having been the author at a few of these, if no one shows up it is grim. Sometimes you walk up to an empty table and get to really chat with someone for twenty minutes, which is wonderful. Other times they have a line, which is also wonderful In that case your job is to smile, validate that they have a BIG crowd, say "Catch you later!" and then keep walking. Again: life is short. 

In addition to that, I set a couple of arbitrary goals--"I'm going to find the tables for X press and Y journal"--look them up on the handy guide, and enjoy whatever organically comes your way en route. Walk slow. If you're particularly averse to small talk, perfect toeing the middle of the aisle, so that you're not TOO close to the tables on either side (to make eye contact within three feet is to say "Yes, I can stop to talk to you"). 

That said, if someone holds out a piece of paper to you, take it. So what if it is not your genre? The inconvenience of you disposing of it later is far less than the mutual good of saying, "Yes, thank you, thank you for all you do." If you can, budget $20 a day to purchase items from small journals and micro-presses, who really depend on the book fair income. Budget for three journal subscriptions if you can, since there are often great deals particular to the conference. 

If you have a DC-area friend who is curious about AWP, the $45 Saturday Day Pass (purchase day-of) is a good deal. But do not wait until late Saturday afternoon to hit the book fair. Many tables pack up and leave early ~3 PM. 

When it comes to the megawatt readers or featured presenters, I'm spoiled by the fact that many come to DC other ways--it is rarely my ONE chance to hear them. But that can bite you in the ass (says the girl who got to finish her big bowl of delicious pho in Boston...and missed out on Seamus Heaney). If it's someone you'll forever regret not having heard, OR if it is someone you greatly admire who is doing something original to the conference--a lecture or a moderated conversation--prioritize that. Even if it means you have to be the one who asks that her dinner bill be separated out from the group, so you can pay quick and get back to the convention center by 8:30 PM. 

Onsite Schedule: Day-by-Day Highlights

The full conference schedule, sortable by day, is here.

Now, what do you choose? I can't tell you, but I can show you what I did, as long as I can I freely admit bias toward my genres of poetry and nonfiction. Also, you'll notice I've picked TWO for every time slot. Sometimes a room is at capacity; sometimes you're mid sentence with someone, want to continue the conversation, and this leads you away from the intended destination. Stay flexible. 

Some Thursday (February 9) highlights...

R114. It’s the End of the World as She Knows It: Apocalypse Poetry by Women. (Maggie Smith, Dena Rash Guzman, Meghan Privitello, Leah Umansky)
Thu., 9 AM-10:15 AM ~ Supreme Court, Marriott Marquis, Meeting Level Four

R129. Tell the Truth and Lie to Me. (Meghan Daum, Lisa Glatt, David Hernandez) 
Thu., 9 AM-10:15 AM ~ Room 203AB, Washington Convention Center, Level Two

R139. Which Comes First, Activism or Artist?. (George Higgins, Martin Espada, Airea D. Matthews, Eleanor Wilner) 
Thu., 10:30 AM-11:45 AM ~ Marquis Salon 5, Marriott Marquis, Meeting Level Two

R140. The G Word: Writing and Teaching Genre in a Changing Literary Landscape. (Katie Cortese, Art Taylor, Idra Novey, Matt Bell, Porochista Khakpour) 
Thu., 10:30 AM-11:45 AM ~ Marquis Salon 6, Marriott Marquis, Meeting Level Two

R169. Imagining the Essay. (Rebecca McClanahan, Lia Purpura, Ander Monson, Lauret Savoy )
Thursday, 12 PM-1:15 PM ~ Marquis Salon 1 & 2, Marriott Marquis, Meeting Level Two

R179. Beautiful Mysteries: Science in Fiction and Poetry. (Robin Schaer, Amy Brill, Martha Southgate, Naomi Williams, Camille Dungy)
Thu., 12 PM-1:15 PM ~ Liberty Salon L, Marriott Marquis, Meeting Level Four

R197. We All Have to Start Somewhere: How Bad Writing Gets Good. (Melissa Stein, Richard Bausch, Tayari Jones, Natalie Diaz, Nick Flynn) 
Thu., 12 PM-1:15 PM ~ Room 207A, Washington Convention Center, Level Two

R187. Bite Hard: A Tribute to Justin Chin. (Jeffrey McDaniel, Timothy Liu, Beth Lisick, David Daniels, Adrienne Su)
Thu., 12 PM-1:15 PM ~ Salon F, Washington Convention Center, Level One 

R201. Mining a Dark Vein: Writing About Appalachia and America’s Working Class. (Larry Bingham, Amy Clark, Crystal Wilkinson, Jill McCorkle, Carter Sickels) 
Thu., 1:30 PM-2:45 PM ~ Marquis Salon 1 & 2, Marriott Marquis, Meeting Level Two

R228. Success, Failure, and the Green-Eyed Monster: Thriving in a Competitive Environment. (Jean Kwok, Rebecca Makkai, Mitchell S. Jackson, Mira Jacob, Jami Attenberg) 
Thu., 1:30 PM-2:45 PM ~ Room 206, Washington Convention Center, Level Two

R235. Beyond the Deadline: Surviving (and Thriving) in Magazine Publishing. (Katelyn Belyus, Stephen Elliott, Roxane Gay, Sy Safransky, Art Stupar) 
Thu., 3 PM-4:15 PM ~  Marquis Salon 5, Marriott Marquis, Meeting Level Two

R264. Zero Chill: Writers of Color Against Respectability. (Casey Rocheteau, Rachel Mckibbens, Franny Choi, Morgan Parker) 
Thu., 3 PM-4:15 PM ~  Room 207B, Washington Convention Center, Level Two

R275. Asian-American Poetics and Politics in the South: Self-Articulation and Solidarity. (Shamala Gallagher, Ching-In Chen, Vidhu Aggarwal, Marci Calabretta Cancio-Bello, Wo Chan) 
4:30 PM-5:45 PM ~ Monument, Marriott Marquis, Meeting Level Four

R292. Variations on Audionarrative: The Next Wave of Literary Podcasting. (Harry Marks, Melissa Faliveno, Ben Tanzer, Jim Warner, Aubrie Cox) 
4:30 PM-5:45 PM ~ Room 204C, Washington Convention Center, Level Two

Some Friday (February 10) highlights...

F119. Home: A Four-Letter Word. (Kelly McMasters, Rachel DeWoskin, Hasanthika Sirisena, Sonya Chung, Elissa Washuta) 
Fri, 9 AM-10:15 AM ~ Liberty Salon N, O, & P, Marriott Marquis, Meeting Level Four

-->Me!-->F126. Celebrating The Golden Shovel Anthology in Honor of Gwendolyn Brooks. (Maura Snell, Major Jackson, Sandra Beasley, Natalie Richardson, Marilyn Nelson)
Fri, 9 AM-10:15 AM ~ AWP Bookfair Stage, Exhibit Halls D & E, Washington Convention Center, Level Two

F144. The Manifesto Project: A Reading and Conversation. (Tyler Mills, Jillian Weise, Vandana Khanna, David Groff, Rebecca Hazelton) 
Fri., 10:30 AM-11:45 AM ~ Supreme Court, Marriott Marquis, Meeting Level Four

F161. Body of Work: Exploring Disability, Creativity, and Inclusivity. (Sheila Black, Eileen Cronin, TK (Tim) Dalton, Anne Finger, Laurie Lindeen) 
Fri., 10:30 AM-11:45 AM ~ Room 203AB, Washington Convention Center, Level Two

F171. Beyond Sex: The Poetics of Desire. (Sarah McCall, Remica Bingham-Risher, Tim Seibles, Natalie Diaz, L. Lamar Wilson)
Fri., 12 PM-1:15 PM ~ Marquis Salon 5, Marriott Marquis, Meeting Level Two

F198. (Not) Just the Facts: Teaching Docupoetry and Investigative Poetics. (Erika Meitner, Rosa Alcala, Susan Briante, Tyehimba Jess, Adrian Matejka) 
Fri., 12 PM-1:15 PM ~ Room 207B, Washington Convention Center, Level Two

F192. American Smooth: A Tribute to Rita Dove. (Aimee Nezhukumatathil, Jericho Brown, Robin Coste Lewis, Natasha Tretheway, Rita Dove) 
Fri., 12 PM-1:15 PM ~ Room 202B, Washington Convention Center, Level Two

F203. Looking Outward: Avoiding the Conventional Memoir. (Steve Woodward, Paul Lisicky, Belle Boggs, Angela Palm) 
Fri., 1:30 PM-2:45 PM ~ Marquis Salon 5, Marriott Marquis, Meeting Level Two

F220. The World Turned Upside Down: Hamilton, An American Musical. (Judith Baumel, Jacqueline Jones LaMon, Victorio Reyes, Stephen O'Connor) 
Fri., 1:30 PM-2:45 PM ~ Room 102B, Washington Convention Center, Level One

F236. University of Arkansas MFA 50th Anniversary Reading. (Brian Spears, Elizabeth Harris, Lucinda Roy, Tom Franklin, Beth Ann Fennelly) 
Fri., 3 PM-4:15 PM ~ Marquis Salon 1 & 2, Marriott Marquis, Meeting Level Two

F248. Following the Thread of Thought. (Steven Harvey, Phillip Lopate, Ana Maria Spagna, Sarah Einstein) 
Fri., 3 PM-4:15 PM ~ Liberty Salon N, O, & P, Marriott Marquis, Meeting Level Four

F286. A Reading and Conversation with Chimamanda Ngozi Adichie and Ta-Nehisi Coates, Sponsored by the Authors Guild. (E. Ethelbert Miller, Chimamanda Ngozi Adichie, Ta-Nehisi Coates) 
Fri., 4:30 PM -5:45 PM ~ Ballroom A, Washington Convention Center, Level Three

F292. Making Canons, Losing Friends: On Making, Revising, Critiquing and Reading Anthologies. (Stephen Burt, John Kulka, Carmen Gimenez Smith, Cate Marvin, Sina Queyras) 

Some Saturday (February 11) highlights...

S109. Starting Small: Grassroots Workshops and Conferences. (Shawna Ryan, Dave Housley, Donna Talarico, Mark Brazaitis, Tyler McMahon) 
Sat., 9 AM-10:15 AM ~ Marquis Salon 5, Marriott Marquis, Meeting Level Two

S110. Money, Power, and Transparency in the Writing World. (Natalie Shapero, Kima Jones, Morgan Parker, Jane Friedman, Rachel Mennies)
Sat., 9 AM-10:15 AM ~ Marquis Salon 6, Marriott Marquis, Meeting Level Two

S148. When Safe Spaces Aren't: (Re)Imagining for a Multicultural Creative Space. (Alyss Dixson, Jennifer Baker, Amy Lam, Metta Sama) 
Sat., 10:30 AM-11:45 AM ~ Liberty Salon M, Marriott Marquis, Meeting Level Four

S159. Arsenic Icing: Sentiment as Threat in Contemporary American Women's Poetry. (Cate Marvin, Jennifer Knox, Erin Belieu, Brenda Shaughnessy, Vievee Francis) 
Sat., 10:30 AM-11:45 AM ~ Room 202A, Washington Convention Center, Level Two

S175. What's Found in Translation. (Jennifer Grotz, Susan Bernofsky, Geoffrey Brock, Bill Johnston) 
Sat., 12 PM-1:15 PM ~ Marquis Salon 12 & 13, Marriott Marquis, Meeting Level Two

S199. Writing With and About Dis/Ability, Dis/Order, and Dis/Ease. (Sarah Einstein, Sandra Lambert, Sonya Huber, Elizabeth Glass, Gina Frangello )
Sat., 12 PM-1:15 PM ~ Room 208AB, Washington Convention Center, Level Two

-->Me!-->S211. Poets on Craft—Tipping the Scales in Persona Poetry. (Laura Fairgrieve, Tina Chang, Sandra Beasley, Nicole Beer, Brian Barker) 
Sat., 1:30 PM-2:45 PM ~ Liberty Salon L, Marriott Marquis, Meeting Level Four

S216. The Ghosts of History: and the Secrets They Tell, Sponsored by Blue Flower Arts. (Angela Flournoy, Andre Dubus III, Aminatta Forna)
Sat., 1:30 PM-2:45 PM ~ Ballroom A, Washington Convention Center, Level Three

S238. This Is My Word for That: Teachers Share Their Most Helpful Invented Craft Terms. (Joseph Scapellato, Matt Bell, Jameelah Lang, Hasanthika Sirisena, Dan Chelotti) 
Sat., 3 PM-4:15 PM ~ Marquis Salon 9 & 10, Marriott Marquis, Meeting Level Two

S243. Socially Conscious Fiction: Writing That Can Change the World. (Allison Wright, Anna March, Jabari Asim, Garth Greenwell, Naomi Jackson) 
Sat., 3 PM-4:15 PM ~ Liberty Salon L, Marriott Marquis, Meeting Level Four

S272. Writing War, Teaching Craft: Veterans & Cadets in the Creative Writing Classroom. (Mary Stewart Atwell, Kevin Powers, Ron Capps, Benjamin Busch, Katey Schultz) 
Sat., 4:30 PM-5:45 PM ~ Marquis Salon 12 & 13, Marriott Marquis, Meeting Level Two

S284. All I Have Is a Voice: Strategies for Inclusion in the Workshop . (Laura Minor, Adrian Matejka, Jillian Weise, Erin Belieu, Robert Lopez) 
Sat., 4:30 PM-5:45 PM ~ Room 202A, Washington Convention Center, Level Two

Offsite Schedule: Highlights

Though offsites may be ticketed or have door fees, an AWP Conference badge is not required. So for those with local friends this is a great way to meet up at the edge of the AWP maelstrom, if they are curious. Items on my radar courtesy AWP's online index....

Thursday, February 9 ~ 7-9 PM ~ 826DC & Tivoli's Astounding Magic Supply Co., 3333 14th St NW (Columbia Heights) ~ "Brooks Books, A Celebration of Gwendolyn Brooks" (Free)

Join editors of The Golden Shovel Anthology (Peter Kahn; Ravi Shankar; Patricia Smith), the Guild Literary Complex, 826DC & Brooks Permissions to celebrate two new Gwendolyn Brooks anthologies. Featuring performances by Terrance Hayes, Dottie Lasky, Kwame Dawes, Camille Dungy, Adrian Matejka, Quraysh Ali Lansana, Dorrianne Laux & Nora Blakely. A night of feasting & legacy poetry!

(I'm biased, because I helped coordinate, but trust that the house will fill up fast.)

Thursday, February 9 ~ 8-10 PM ~ Bayou, 2519 Pennsylvania Ave. NW (near George Washington University) ~ "The Magnificent Seven: A reading hosted by Pleiades, AGNI, American Literary Review, Boulevard, Cream City Review, Gulf Coast, and Poemoftheweek.org" (Free)

Come to Bayou to celebrate the Magnificent Seven at a reading by our contributors, including: Chen Chen, Alice Elliott Dark, Matt Donovan, David Keplinger, Shara McCallum, Gregory Pardlo, Caitlin Pryor, Maggie Smith, and Ryo Yamaguchi. Meet us upstairs for a drink in the company of friends. 

Thursday, February 9 ~ 8 PM-midnight ~ Little Miss Whiskey's, 1104 H St NW (H Street) ~ "The Poetry Brothel at AWP" ($25)

The Poetry Brothel is a unique and immersive poetry event that takes poetry outside classrooms and lecture halls and places it in the lush interiors of a bordello. The Poetry Brothel presents a rotating cast of both male and female poets as “whores,” each operating within a carefully crafted character, who impart their work in public readings, spontaneous eruptions of poetry, and most distinctly, as purveyors of private poetry readings on beds, chaise lounges and in private rooms. For a small fee, all of the “poetry whores” are available for these sequestered readings at any time during the event. 

Of course, any true brothel needs a good cover; The Poetry Brothel’s is an immersive cabaret, offering a live music, burlesque, vaudeville and fortune-tellers, with newly integrated themes, performances and installations at each event. Themed costumes and/or evening wear are encouraged but not required. This event is 21+.

The Poetry Brothel at AWP will feature The Bitter Dose Combo, burlesque artists, Ophelia Zayna Hart and Mademoiselle Estelle, tarot reader Melissa Shaw, sketch artist Gregg Vance Emery, an all-star cast of poetry whores including Michael H. Broder, Christina Beasley, John Dunn Smith, Shari Caplan, Stephanie Kaylor, Nicholas Oliver Moore, Emi Bergquist, and Patricio Ferrari, and, of course, your hosts, Stephanie Berger, Nicholas Adamski, and the amazingly hilarious Mister Charley Layton.

Friday, February 10 ~ 3-5 PM ~ Busboys and Poets, 1025 5th St NW (Mount Vernon) ~ Kick-Ass Writers and Teaching Artists / AWP17 (Free)

More fairness for Adjunct Professors In Higher Ed with readings by--Kaveh Akbar, Cynthia Atkins, Jeanne Marie Beaumont, Chen Chen, Claudia Cortese, Roy Guzman, Vandana Khanna, Jen Knox, Richard Peabody, Octavio Quintanilla, Lee Ann Roripaugh, and Melissa Studdard.

Friday, February 10 ~ 6-9 PM ~ True Reformer Bldg, 1200 U St NW (U Street/Shaw) ~ Fierce LOVE: The Field Office Collective Reading (Free)

A Field Office reading featuring Nikky Finney, Ross Gay, Dorianne Laux, Ada Limón, Adrian Matejka, Gregory Pardlo, Kazim Ali, Curtis Bauer, Rebecca Gayle Howell, & Steve Scafidi.

Friday, February 10 ~ 7-9:30 PM ~ 826DC & Tivoli's Astounding Magic Supply Co., 3333 14th St NW (Columbia Heights) ~ "Adapted" (Free, donations requested)

Award-winning writers Danielle Evans, Belle Boggs, Tania James, Matthew Klam, Mariama Lockington, and Mike Scalise have their live readings adapted instantly by illustrators in a real-time, bookmaking event mixer that benefits student programming at 826DC, a free writing center for DC students.

Friday, February 10 ~ 8 PM-10 PM ~ Coffy Cafe, 3110 14th St NW (Columbia Heights) ~ "Kick-Ass Women Kick Ass" (Free)

Join 5 kick-ass women poets for a kick-ass reading: Jan Beatty, Sarah Browning, Denise Duhamel, Niki Herd, Valerie Martínez No cover. Free snacks & drinks. Doors open at 8 pm. Readings at 8:30 pm. 

Saturday, February 11 ~ 7 PM-10 PM ~ Home-hosted, 1402 12th St NW (Logan Circle) ~ "TOAST: Raise a Glass to What's Good" (Free, donations requested)

TOAST is a benefit for Writers in Baltimore Schools (twitter.com/WritersinBmore). Come, hang out, raise a glass. No cover, no hard sell, but bring some cash (or credit) to donate to this worthy cause. We'll have craft cocktails and NA drinks, light fare, and toasts from your favorite writers—ALL FREE. 

Featuring toasts from writers from Baltimore and around the country, including: Hossannah Asuncion, Stephanie Barber, Mark Chambers, Nitya Ventkarama Chambers, Tracy Dimond, Sarah Rose Etter, Amelia Gray, Kamden Hilliard, Michael Kimball, Justin Sanders, and YOU. Presented by Submittable, FSG Originals, Atomic Books, Publishing Genius, Spencer Printing, Magic Helicopter Press, Albright, and more.

Saturday, February 11 ~ 7:30 PM-9:30 PM ~ Busboys and Poets, 1025 5th St NW (Mount Vernon) ~ Stadler Center Literary Reading (Free)

Join the Stadler Center @ Busboys & Poets for a reading by past fellows and residents Justin Boening, Eduardo C. Corral, Carolina Ebeid, Leslie Harrison, Donika Kelly, Emily Means, Emily Rapp, Mike Scalise, Chet'la Sebree, Tim Seibles, and Jane Wong. Hosted by Shara McCallum.

The Stadler Center for Poetry seeks to foster in a wide and varied audience an appreciation for the diversity and richness of contemporary poetry and the other literary arts. We also provide support for writers at various stages of their development and careers.

Saturday, February 11 ~ 8 PM-9:30 PM ~ Black Cat, 1811 14th St NW (U Street/Shaw) ~ "Literary Death Match DC Spectacular" ($15)

LDM heads to the nation's capital for a magical night of bent on protesting (and distracting from) the horrors happening over at 1600 Pennsylvanie Ave. Readings from Whiting Award-winners Mitchell S. Jackson, Roger Reeves, Safiya Sinclair, & Elena Passarello. Judged by Claire Vaye Watkins & more! Hosted by Adrian Todd Zuniga.

#

The array of offsite events is genuinely dazzling. Some years I've tried to hop between two, three, four things. Some years I've skipped all in favor of a meal with friends. 

In general, I confess that I am wary of marathon readings featuring 10+ people, as all it takes is one selfish mic hog to throw the whole timeline off. Also, PLEASE be considerate of keeping aisles clear, as these events are often overcrowded. This creates a welcoming space for those with mobility impairment. 

I would also add that for those with accessibility issues, fully vet the building prior to arrival. Many historical DC spaces are non-ADA compliant. Sometimes those with accommodations require staff assistance to locate / operate them. 

Local Activism

Flash protests have been taking place frequently in downtown DC, particularly outside the White House and the Trump International Hotel, and at National and Dulles airports. On Friday, February 10, at 1:30 PM, "Writers Resist Trump" is a gathering that will begin in the lobby of the Marriott Marquis and proceed from there to Capitol Hill. The idea is to visit the offices of your congressmen en masse to ask questions, express concerns, and hand off letters. Some groups have gone so far as to schedule (independently) appointments for an in-person meeting. On Saturday, February 11, at 6:15 PM, Split This Rock is coordinating a "Candlelight Vigil for Expression of Freedom" featuring Kazim Ali, Carolyn Forche, Ross Gay, and more. The group will meet in Lafayette Park directly across fro the White House. That morning, at 9:30 AM at the STR headquarters (1301 Connecticut Ave, NW, Suite 600, accessible from the Dupont Circle metro stop), they are hosting an informational meeting on how to organize resistance movements in your hometown. PEN America put together a guide of relevant panels to resistance that includes discussions of translation, immigration, and political poetry.

Socializing & Networking

Lead with a compliment. Always have a fallback question ("How was the trip to DC?" "Have you spent time in town before?" "What's been the highlight so far for you?" "Who's the writer you're secretly hoping to get stuck in an elevator with?"). They don't have to be brilliant questions, you're just creating space for people to warm up. 

Not talking about writing is one of my favorite parts of AWP. Passionate conversation about record collecting, or the pet waiting for you back at home, where you got that tie, or the best way to cook chili are all welcome. Politics are welcome, but start with sincerity before cutting to humor. Don't assume you know everyone's position just because we share a vocation. Discuss issues rather than fixating on the people in play. This tends to be a less polarizing entry point, which can yield a deeper discussion. 

If your main hesitation is feeling like you don't have sufficient pub credits to carry a conversation, stop worrying right now. Don't underestimate the interest people might have in your "other" job. In a gathering of thousands, your banality is guaranteed to be someone else's novelty. If, on the contrary, you find yourself down some deep rabbit hole of gossip over who got what tenure-track gig or the percolating outcome of a major book award, take a quick look around to be sure everyone feels included. Three minutes of that is fun. Five minutes and counting can get a little obnoxious. 

Also, that thing where you're having perfectly good conversation with X when some other person--slightly more charismatic, perhaps, slightly more expensively dressed, perhaps--comes into your ten-foot radius and your eyes start flicking over, trying to check their name tag, because you're pretty sure that person is Famous Author Y? 

Yeah, everyone can tell you're doing that. People's eyes don't just naturally settle in the mid-belly area. If it is Famous Author Y, they have had enough AWP meet-and-greets that they probably won't remember this one that you're angling to get. Meanwhile, X--the person you blew off so you could go meet Y--will remember that for a long time. 

On the other hand, this is totally fine: leaning in and saying to X, in a conspiring tone, I think that's Famous Author Y. I'm such a fan. Can we go crash their conversation, you think? Who knows. X might have an "in" that you do not. If they have neither in nor interest, you're giving them the opportunity to gracefully excuse themselves. 

When you stop by tables at the book fair, be aware that the best way to make a good impression is to take something from them, not give something to them (unless that "something" is your money). These publishers / editors / professors / students / staff / interns hauled boxes to DC and created a space to tell you about what they put into the world, often in unpaid capacities. Ask about those projects; ask about their own creative identities; take or buy sample books and issues; don't lead with "Will you read my work?" Later--when they are not trying to pack a suitcase for a return flight--you can follow up with pitches, submissions, even whole book manuscripts per their guidelines. "I really enjoyed speaking with you at the AWP Conference" becomes your point of introduction. 

Bring business cards that include your email address at a minimum (mine also include the titles of my books, and my phone number, with a space for jotting notes). If you're giving away postcards, don't be offended when people immediately fold the card in half before sticking it into a pocket or purse. They are not insulting the material, they are just trying to make it business-card sized. 

For the Sake of All Humanity

-Tip your housekeeping staff each and every day you get their services.
-Don't get drunk or maybe do the one late night, but only the one. 
-If you forget or mangle someone's name, own the error. We've all been there. 
-Be kind. We're a weird bunch but we are united in our language-loving weirdness.

Restaurants & Bars

There are a couple of fun stretches of newish development along 9th Street NW, adjacent to the Convention Center. Baby Wale is a hipster upscale junk food paradise. Look for the block of Lost & Found (a bar cheekily decorated in vinyl), All-Purpose Pizzeria (Washington Post restaurant critic Tom Sietsema's recent fave), and Espita Mezcaleria (Spanish cantina, with seven different moles, tacos, and great shareable house salsas / guacamoles). Someone will pull you in for a lunch at Smoked and Stacked, the new joint from Marjorie Meek-Bradley (Top Chef runner-up), or to get an afternoon sandwich at SUNdeVICH. I haven't even bothered recommending these spots to people, because they will be packed organically.

Just a few blocks south of the convention center, the Arena / Gallery Place area is 50% dynamite (home base for José Andrés!) and 50% tourist traps (e.g. Zengo, Sushi-Go-Round, Ping Pong Dim Sum). Technically this neighborhood is also Chinatown, but I can't steer you toward any gems among the longtime staples; I have experienced cheap but not good-cheap. For good-cheap, trek up to Great Wall Szechuan House on 14th St NW, or Panda Gourmet in the Days Inn on New York Avenue NE. I'm also intrigued by Chao Ku, but have not been yet. 

In contrast, the "City Center DC" complex is aggressively expensive with imports such as Momofuku and DBGB; avoid Fig & Olive at all costs. On the CCDC outskirts, Del Campo is aggressively expensive but kinda worth it. RPM Italian, owned by the Rancics, is supposed to be pretty, better than expected, but unlikely as a first pick of any non-politico local. 

Some favorites close to the convention center...

Daikaya (Japanese / 705 6th St NW)
Teaism (Fusion /400 8th St SW)
Zaytinya (Mediterranean / 701 9th St NW) 
Oyamel (Mexican / 401 7th St NW)
The Partisan (American /709 D St NW)
Rasika (Indian / 633 D St NW)

Some favorites worth the 15-minute trek by taxi...

Thip Kao (Laotian / 3462 14th St NW)
Izakaya Seki (Japanese / 1117 V St NW)
2Amys (Italian / 3715 Macomb Street NW)
Kyirisan (Chinese / 1924 8th St NW)
Chez Billy Sud (French / 1039 31st St NW)
Whaley's (Seafood / 301 Water St SE)
Estadio (Spanish / 1520 14th St NW)
Kapnos (Greek / 2201 14th St NW)
Bindaas (Indian / 3309 Connecticut Ave NW)
Lapis (Afghani / 1847 Columbia Rd NW)
Garrison (American / 524 8th St SE)
Mintwood Place (American / 1813 Columbia Rd NW)
Kaz Sushi Bistro (Japanese / 1915 I St NW)
Bistrot Lepic (French / 1736 Wisconsin Ave NW)
Lavagna (Italian / 538 8th St SE)
Ethiopic (Ethiopian / 401 H St NE)
Pearl Dive Oyster Palace (Seafood / 1612 14th St NW)
Baan Thai (Thai / 1326 14th St NW, 2nd Floor)

Overall, DC is having a great restaurant moment. You know what I am not going to do, though? Pretend to be an authority on barbecue. I trust my friend Tim's judgment. He says Hill Country is pretty good, actually, and it's close to the convention center. 

Other spots that people rave about--but I have not been to personally, in part because of allergy concerns--are Rose's Luxury, Bad Saint, Compass Rose, The Red Hen, Maketto, Tail Up Goat, Le Diplomate, and Komi / Little Serow. Since long waits in line are not AWP-friendly, you might investigate and save some of those for another trip to town. Fiola, Fiola Mare, Kinship, Del Campo, Pineapple & Pearls, etc. are great if you have recently come into a small inheritance. 

For bars you might check out the whiskey selection at Jack Rose Saloon, the speakeasy-style The Sheppard in Dupont Circle, something made to order at Beuchert's Saloon, a draft beer at Kramerbooks & Afterwords Cafe or Big Hunt, a beer and a pinball game at Lyman's Tavern, a beer and a round of skeeball at Iron Horse Taproom, a cocktail named for a poet at Room 11, a cocktail named for a novelist at Petworth Citizen, or a classic sipper in front of the fireplace at The Tabard Inn.

Non-Conference Culture

Give yourself permission to get away. If you're at an offsite nearby, break away to go hear live music at Gypsy Sally's (Georgetown, bluegrass), Black Cat (14th Street NW, rock / DJ), the Rock 'N Roll Hotel (H Street NE, rock), or Madam's Organ (Adams Morgan, rhythm and blues) or Columbia Station (Adams Morgan, jazz). 

Or check out the amazing renovation of the National Gallery of Art's East Wing, not to mention the Stuart Davis show in the West Wing. The Smithsonian American Art Museum is very close to the convention center and has hours that run helpfully late, 11:30 AM to 7 PM on weekdays. Passes to the National Museum of African American History and Culture may be tough to get, but the Newseum's exhibit on "1967: Civil Rights at 50" is brand new and very relevant to these times. The Newseum is a pricey exception to the standard of free museums in DC, but it is worth visiting once.

...Okay, okay. These ambitious plans tend to fall by the wayside. I know. 

But do not forget that the National Mall and Memorial Parks are open 24 hours a day. They are yours, good people, and yours to visit. A midnight visit to the steps of the Lincoln Memorial with a few friends might restore your faith. Walking in early morning as snow falls on the red South Dakota granite of the FDR Memorial, appreciating the water features reflective of sixteen years of American history, is the kind of thing you don't forget. Or come hang out with me in Southwest, and we'll visit that strange Titanic Memorial on the waterfront. In noting the lure of these places, I am not alone--now go check out this very helpful take from Leslie Pietrzyk. 

Welcome to our city. I'll see you soon.