Eileen R. Tabios' new book BECAUSE I LOVE YOU, I BECOME WAR, has become an SPD Bestseller within a week of its official release date. See more information at
and
https://eileenrtabios.com/poetry/because-i-love-you-i-become-war/
Wednesday, June 7, 2023
Monday, June 5, 2023
2023 MARSH HAWK POETRY PRIZE WINNERS!
CONGRATULATIONS!
2023 Marsh Hawk Press Prize Winners
The MARSH HAWK PRESS POETRY PRIZE
($1,000.00 Cash Prize and Publication of the Book)
Chosen by Mary Jo Bang
Liane Strauss: “The Flaws in the Story”
Mary Jo Bang writes: Like Penelope’s daily weaving, ripped out each night in order to keep in play the possibility of a happy ending (Odysseus’s return, Laertes death forestalled), each of these fascinating poems is part of a larger story, each an exquisitely observed vignette that pinpoints a moment of conversation, or observation, or travel, that reveals, much like a chapter in a novel might, a set of characters with moods and conundrums. As the scenes accrue, the individual points in time become an inner life made visible, a brilliant enactment of a mind talking back to the world: “I know as soon as I wake up it’s time to start rethinking everything again.” Unputadownable, as in “so gripping as to be read right through at one sitting.”
The ROBERT CREELEY MEMORIAL AWARD
($250.00 Cash Prize)
Chosen by Mary Jo Bang
James Zukin: “Mr. Hand & Ms. Viz”
The ROCHELLE RATNER MEMORIAL AWARD
($250.00 Cash Prize)
Chosen by the Marsh Hawk Press Editorial Board
George Looney: “Music Inherent in the Extremities”
FINALISTS
Allison Blevins, Elizabeth Coleman, Christian Gullette, Sarah Carey, Brandi George, Michael Weinstein, Patty Seyburn,
N. Minnick, Derek Mattern, Lea Graham, Kathleen Winter, Elizabeth Rees, Connor Fisher, Ellen Malphrus, Cory McClellan
Thursday, June 1, 2023
AL FILREIS ON "CHAPTER ONE"!
You're invited to read Al Filreis' contribution to Marsh Hawk's "Chapter One" project, "Notes toward a pedagogy of ModPo." You can see it HERE, but here's an excerpt:
Whenever I write these days about poetry I express an intense interest in the poem, poem by poem and poetic project by poetic project. Yet what comes through is an even keener concern about collaborative interpretation generally, about our uses and misuses of—and recently our panics over—the technologies that make such collaboration possible at a large scale. Pondering the origins of the interests that have made ModPo—a free, non-credit, open online course—possible, I realize that I am seeking to connect such a social or civic mode of reception with the supposedly difficult, putatively opaque poets and poems I admire and as an educator feel a strong instinct to share (and which I have presented in college classes and open public forums for forty years by now).
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