Apply by Friday, June 15 for our 2018 Summer Retreats in Paris and Granada!

Applications close this Friday, June 15, for our 2018 Summer Writing Retreats in Paris, France and Granada, Spain. Don’t miss out on an opportunity to study with award-winning faculty in an inspiring and supportive community of writers. Scholarships are available. Apply today!

CWW-2018ParisRetreat

Summer in Paris

Our Paris retreat will be held from July 25-July 30 with faculty Kathleen Spivack, Kristina Marie Darling, Rita Banerjee, and Rita Banerjee. Students will stay in the heart of the Montparnasse neighborhood, enjoy classes in a beautiful Moroccan-themed room with an open-air courtyard, and take literary tours of Paris.

 

CWW-Paris2018Schedule

Memory/Memoir (with Kathleen Spivack)

We will be working with memory, memoir, the other, and ourselves as we explore the role of memory in our writing. We will focus on new work or, if you prefer, working on projects you bring to the class.

How can we use memory? Where do fact and fiction collide? What is a memoir and where exactly do we focus? How do we locate ourselves in our writing and where do we find the starting place and point of view? There are many ways of approaching memory/memoir in our writing and we will explore a few of them.

Prose Poetry and Micro-Fiction with (Kristina Marie Darling)

In this course, we will focus on prose poetry, meaning prose that draws from the extensive tradition, formal repertoire and literary devices that readers associate with poetry. We will work toward a set of drafts that enact the full range and diversity inherent in this exciting literary form. Questions we will address in this class include: How can poets effectively and economically use the tools of fiction in their craft? What formal variations on the prose poem are possible? How can prose poems complement work written in more traditional poetic forms? Readings will include work by Rochelle Hurt, Carol Guess, Kerri Webster, Joanna Ruocco, Jenny Boully, Sarah Vap, G.C. Waldrep, Suzanne Scanlon, and other writers as determined by student interest.

The Fine Art of Application Writing (with Kristina Marie Darling)

This workshop will walk students through the basics of writing convincing and persuasive applications to fellowships, residencies, grants, and other opportunities.  We will begin with a discussion of strategies for researching those professional opportunities that best fit one’s chosen project. We will also address such topics as crafting personal statements, writing compelling project proposals, choosing the writing sample, and compiling your dossier as a whole.  Students will leave the workshop with a packet of resources for researching residencies and grants, as well as sample application materials and strategies for effectively presenting their own writing to selection committees.

Ekphrasis: Writing Confronts Visual Art (with Diana Norma Szokolyai)

The word “ekphrasis” comes from the Greek, referring to a literary response to a visual scene, or more commonly, a work of art. By engaging in the imaginative act of reflecting on the action of a work of visual art, the writer expands the meaning of the art. After reading literary examples and holding a discussion about applying the practice of ekphrasis to our own writing, our classroom will be one of the most beautiful museums in Paris: The Musée D’Orsay.

Flâneurs, Essays, and Provocateurs (with Rita Banerjee)

An essay is an attempt.  A trial. A test. In this class, we will explore how evocative essays are attempted and constructed.  We will explore how being a flâneur and an essayist are intimately combined. And we will study how essayists from Montaigne to John McPhee to Richard Rodriguez to David Shields to Teju Cole and Lauren Elkin redefine the environment they inhabit and create a space for electric art.

CWWGranadaPoster2018FINAL

Summer in Granada

Our Granada retreat will run from August 1-August 6 with faculty Tim Horvath Diana Norma Szokolyai, and Rita Banerjee. Intellectual, diverse, and artistic, Granada will always have creative opportunities and events to experience. No matter how you choose to spend your time, this city is full inspiration. The retreat offers multi-genre workshops, as well as craft seminars and time to write.

CWW-Granada2018Schedule

Leyendo Intensamente: Reading Spanish Language Literature (in Translation) as a Writer (with Tim Horvath)

It is a given that writers must learn to read closely, with attention to nuance and craft, to unravel the methods by which other writers have managed to tell stories effectively and adapt them for their own purposes. In this class, we’ll focus on contemporary writers in Spanish. Beginning with now-canonical figures like Borges, Valenzuela, and Cortázar, we’ll look at the history of mid-twentieth century literature in Spanish, and explore how social and political conditions shaped the dissemination of that literature through the Western world. We’ll then look at how today’s writers are both continuing and radically transforming that tradition in light of contemporary issues. In particular, we’ll examine writers such as Valeria Luiselli, Andrés Neuman, Cristina Rivera Garza, and Samanta Schweblin, each of whom bends narrative, language, and thus our understanding of reality itself. We’ll also explore the fraught, infinitely rich topic of translation, discussing its complexities and the ways that understanding the innumerable decisions involved in bringing a work into another language can shed light on the act of “translating” any experience or concept from mind or world onto the page, i.e. writing itself.

The Poetry of Flamenco (with Diana Norma Szokolyai)

In this class, we will explore the fantastically concise and heel-­to-­floor transmission of passion through the lyrics of flamenco music. Packed with intense rhythms, rhymes, and imagery to match the intensity of the music, flamenco songs are a form of poetry developed by Romani people to express the deepest human experiences of love, death, and oppression. We will examine symbols and structures in the poetry of flamenco, learning the distinctions between siguiriya, tango, playera, soleá, and carcelera. Complementary to the class, we will visit an authentic flamenco performance and get a tour of the Museo Cuevas del Sacromonte, where Romani people have traditionally lived in cave dwellings and practiced the art of flamenco.

Character Development & the Law of Desire (with Rita Banerjee)

Femme fatales, gumshoe detectives, star-crossed lovers, wicked stepmothers, wise fools, empathetic anti-heroes: dynamic and archetypal characters can be key to making a good story or lyrical piece tick and pulling in the reader deeper into your creative work. In this workshop, we will discuss how dynamic and archetypal characters can help structure stories, propel narratives forwards, and how each character’s desire provides interesting ethical dilemmas and emotional spectrums to narratives and verse. We will learn about the building blocks of creating strong, unforgettable characters, discuss the connection between desire and plot, and learn how playing with persona can help liberate nonfictional stories and lyrical poems.

Advertisements

Cambridge Writers’ Workshop Summer 2018 Retreats featured in India’s The Hindu

The Cambridge Writers’ Workshop is delighted to have its 2018 Summer in Paris and Summer in Granada, Spain Writing Retreats featured in the Indian newspaper The Hindu.  In the article, Artists’ and writers’ retreat throw open doors for a creative vacation,” journalist Sujatha Shankar Kumar writes:

Accomplished writers Rita Banerjee and Diana Norma Szokolyai started the Cambridge Writers’ Workshop (CWW) in 2008 as a literary writing forum set in Cambridge. “At its heart, CWW has a bi-fold model — French literary salon and the Bengali adda,” says Banerjee, explaining how they nurture non-hierarchical, productive and liberal spaces where writers perform and debate their work. Retreats in New Orleans, Paris and Granada have morning classes and afternoon tours, as Banerjee says, “We wanted writers to get snapshots of culture.” Their upcoming retreat in Granada (August 1 to 6) has Banerjee teaching the Law of Desire (how desire creates conflict) and creating memorable characters. Tim Horvath will explore ‘the five senses’ in Spanish, and Szokolyai will impart the history of flamenco and Roma literature. The fee includes tuition, lodging, a flamenco show, a tapas tour of the city and breakfast.

Read the full article and Kumar’s review of the Cambridge Writers’ Workshop here.

June 15, 2018 is the deadline to apply for the Cambridge Writers’ Workshop 2018 Summer in Paris and Summer in Granada Writing Retreats and Scholarships.  Our multi-genre faculty includesKathleen Spivack,Kristina Marie DarlingTim Horvath Rita Banerjee, and Diana Norma Szokolyai.  So many sure to get in your applications at http://cww.submittable.com by then!

Celebrating CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing’s Publication Day!

CREDO-RitaBanerjee-DianaNormaSzokolyai

The Cambridge Writers’ Workshop is celebrating the publication of CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing today!

CREDO (C&R Press, May 15, 2018) is edited by writers and CWW co-directors Rita Banerjee and Diana Norma Szokolyai and assistant editors Alexander Carrigan and Megan Jeanine Tilley. CREDO advocates for the empowerment of female, LGBTQ+, and other marginalized literary voices, with essays and manifestos that cover a wide range of subjects, including transgender poetics, world literature and aesthetics, collage and appropriation, and the politics of place. By presenting a triad of creative writing manifestos, essays on the craft of writing, and creative writing exercises, CREDO bridges the theoretical, political, and aesthetic perspectives on contemporary writing with practical and accessible writing advice. Our incredible CREDO contributing authors are some of the most exciting voices in contemporary poetry, fiction and non-fiction and will leave you feeling inspired.

Meet Our Contributing Authors!

Kazim Ali \ Forrest Anderson \ Rita Banerjee \ Lisa Marie Basile \ Jaswinder Bolina \ Stephanie Burt \ Alexander Carrigan \ Sam Cha \ Melinda J. Combs \ Thade Correa \ Jeff Fearnside \ Ariel Francisco \ John Guzlowski \ Rachael Hanel \ Janine Harrison \ Lindsay Illich \ Douglas Charles Jackson \ Caitlin Johnson \ Christine Johnson-Duell \ Jason Kapcala \ Richard Kenney \ Eva Langston \ John Laue \ Stuart Lishan \ Ellaraine Lockie \ Amy MacLennan \ Kevin McLellan \ E. Ce. Miller \ Brenda Moguez \ Peter Mountford \ Nell Irvin Painter \ Robert Pinsky \ Kara Provost \ Camille Rankine \ Jessica Reidy \ Amy Rutten \ Elisabeth Sharp McKetta \ David Shields \ Lillian Ann Slugocki \ Maya Sonenberg \ Kathleen Spivack \ Laura Steadham Smith \ Molly Sutton Kiefer \ Jade Sylvan \ Anca L. Szilágyi \ Diana Norma Szokolyai \ Marilyn L. Taylor \ Megan Jeanine Tilley \ Suzanne Van Dam \ Nicole Walker \ Allyson Whipple \ Shawn Wong \ Caroll Sun Yang \ Matthew Zapruder

GrolierOn Saturday, June 2, the Cambridge Writers’ Workshop will celebrate the 90th Anniversary of the Grolier Poetry Book Shop at the Grolier Poetry Festival in Harvard Square. CREDO contributing authors Kathleen Spivack, Kevin McLellan and the CWW’s co-director and CREDO editor, Diana Norma Szokolyai will read. Diana Norma Szokolyai will also be teaching a CREDO workshop where copies of CREDO will be available for purchase. Stop by between 1-4 p.m.!

CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing can be purchased through C&R Press, Amazon and Barnes and Noble.

CWW Spring in New Orleans 2018 Writing Retreat – Recap!

This spring the Cambridge Writer’s Workshop held their retreat in the vibrant city of New Orleans. The weather was amazing and felt like a breath of fresh air to all of the snow we had experienced in this unusually long winter. We stayed in a gorgeous two-story house across the river from the French Quarter in Algiers’s Point.

The retreat started with a night of games and fun during orientation which helped stir everyone’s creative side!

Classes for this retreat showcased: “Rasa: Emotion & Suspense in Theatre, Poetry, and (Non)Fiction” taught by Rita Banerjee; “What’s At Stake?” taught by Diana Norma; and a two-part course on both finding a literary agent and building a literary platform taught by special lecturer Natalie Kimber, a literary agent from The Rights Factory. The classes were as fun as they were informative and educational.

In our free time, we played a group game of Werewolf, sought out local food and drink, saw local sites, listened to jazz in the French Quarter, and most importantly wrote!

The 48-hour Writing Bake Off has become a staple of the CWW, and this trip produced some amazing work by our writers! As per the usual rules each writer had 48 hours to write around twenty pages of work while incorporating elements as chosen by the fellow writers. This Bake-Off needed to include:

  • Pastel Colored Houses
  • The Powdered Sugar from the Beignets
  • Gentrification
  • Trumpets
  • A “Big Easy” Attitude
  • “Widow-Maker” Trees

Here are some excerpts of what our writers came up with.

Gina Anderson “The Baby Sitter”

I kicked open the door. The creature looked like a Doris Day reject. It held the baby outstretched over the crib readying to extract its soul. “Unhand that child!” I demanded. I’m sure my command came out in a chirpy, garbled mess instead of low demonish.

The woman lowered her palm over the tiny chest of the babe, swaddled up in a blue blankie, as a threat. She opened her mouth up in an unnatural yawn and let out a low hum. The move shut the door behind me and blasted me against it.

The babe was silent. It made no moves to protect itself. This demon babe was rumored to have unimaginable powers. Did the creature stun it with some sort of ability unnatural to this realm?

Very well. If it was going to fight dirty, then the crutches and the pants were coming off. I quickly unwrapped my bandaged legs and feet, releasing my claws, but also thoroughly confusing the possessed creature. I picked up one of the crutches and detached one of the components that doubled as a stake. I only had two left and I only had two shots at getting it right.

The creature stretched the face of its possessed body in that yawn again, but this time it spewed a chemical mist. I coughed to prevent the toxic fumes from entering my lungs. Hey, I’m a birdie with delicate sensibilities. Damn it! These guys just kept upping the threats.

 

Adi Hernández “Untitled Bake-Off”

Julio had been off sleeping, reading, and doing just about god-knows-what those three weeks nobody could find him, and in-between it all, he would find himself staring out through the window hoping he would one day go back to what he thought he could remember life to be. Since the accident, since the weather that day long ago, since his brother’s death, he stayed in the upper room of a pastel house that had somehow managed to stay intact. He had been stuck there, paging through the same three books he hadn’t read in a while, but he was beginning to think, maybe a trip outside could spare him from having to read them all over again. They made him sick to remember again.

To remember his hometown in Managua, Nicaragua. To remember the days when he and his brother would simply drop the bags of groceries they carried home to run off to the beach at the sight of a glimmer of water. To remember the nights outside their home eating papaya and waving off the heat those summer days created. To remember his mama and papa spending nights together cooking for the rest of the family just before they would have “uninvited” guests over. To remember his brother’s laugh when he fell into the pond searching for the sea serpent that supposedly lived there. To remember them again, and to realize they were too far to offer any help like he knew they would.

“It’s what I get… I guess.” he thought to himself.

Deb Jannerson “Poems”

first sight 

the only track in my discman’s 56-sleeve carrier that mentioned new orleans was about hookers.

i slipped the disc into its wide plastic mouth anyway, lit a funk ribbon between my ears as
the seventh-circle seraphim perched back from the trolley window, uninterrupted by its muffled bass.

removed from blood context, i offered myself to the necklace-strewn widowmaker branches, to the creaky car film-reeling academic excuses, to the jester-drunk women embracing on quarter corners.

agnostic phantoms marbled my barrier, warmth wet as a lover, leaned through anthony kiedis to hiss there is something here for you to find.

8/28/05

with two more weeks until the
begrudging unlock of the ivory tower, i
regressed into the house of the soot eagle

where i unset through the ticking, then
shattered offscreen.

in a vertiginous spot of mirror-image cruelty:
it really will be a canal street! the
sourdough words would not mix with
her fault-ridden lips.

my brain disappeared, impotent.

i had left its dormant shadow on
the opposite end of the interstate, and
almost expected it to survive.

 

Gary Zeiss “Thank You for Riding with Jesus”

I rode with Jesus the other day. Ten glorious, spirit filled miles. They were fun-filled, too. Yes, I was touched by the son of God himself, and sitting in the back seat of his 2014 Blue Passat (7EAD313), I felt as if I were being whisked away from all my cares.

Jesus asked if I believed in him. How could I say no?  He was sitting there, in the flesh, right in front of me. He would move his hands and the car would turn. He would move his feet

and the car would accelerate or slow down. Of course, Jesus was right there with me, every moment of this journey.

Good thing I became a believer quickly. The 405 was in one of its usual crowding phases, and Jesus was pulling motorcycle like lane splits. Give him this — he could drive like hell. While I was in his holy presence, the day seemed to get brighter. It was if the darkness relented to the holy glory of dawn.

I definitely felt as if I was being touched by an angel — and not just any angel, but the big J. We got off the 405 at La Tijera.

Jesus laid on the horn at the driver in front of us.

No effect.

“No turn on red” I said, pointing to the sign.

“That’s for you folks, not the son of God!” he laughed, almost rear-ending the Explorer with Utah plates that was standing at the light.

I almost thought I heard him mutter a curse word or two at the careful driver in front of us. I knew just then, What Would Jesus Do in traffic?  He’d be just like one of us — pissed off

at the slow driver in front of him, impatient, and ready to honk and curse at a moment’s notice. I felt very close to Jesus at that moment.

Matthew Bargas “Credo: On Truth”

“What is truth,” Pontus Pilate asked. The answer may not be as simple as most would think. In

this day and age of fake news and real news the question is just as relevant as it ever was. Our digital technology can fabricate anything, creat compelling arguments supporting or condemning anything anything, and who is to decide what is real and what is fake.

Aside from science and math, are there any universal truths, or are all truths relative? We hold these truths to be self evident? Really? What does that mean. If life liberty and pursuit of happiness are self evident why is there so much death and destruction, so much oppression, so much misery in our world. How about the divine right of kings? That ‘truth’ was believed by everyone centuries ago. Who knows what everyone will believe in the future?

And there is this excerpt from the song, Wonderful from the musical Wicked:

“We believe all sorts of things that aren’t true. We call it history. A man is called a traitor or a liberator. A rich man is a thief or a philanthropist. Is one a crusader or an invader. It’s all in which label is able to persist. There are precious few at ease with moral ambiguities. So act as though they don’t exist.”

 

Rachel Kurasz “Widow Maker Trees”

I ran into my house and locked the door. I was fine, I just drank too much, I told myself. The wind howled, branches were scratching at my door. I went to my bedroom and laid down on the bed hoping to get a good night’s sleep and deal with the hangover in the morning. The scratching sounds continued and sounded as if they were right at my bedroom door.

I was scared, I was drunk, and I finally decided I needed to say the prayer, fuck it, being foolish was better than ending up like that poor woman’s corpse.

“As I lay me down to sleep I pray…” Shit. “As I lay me down to sleep I pray…” Fuck.

The scratches grew louder.

“As I lay me down to sleep I pray…” I was so drunk and scared that I had completely forgotten the damn prayer. I kept repeating the first line over and over again. And then I saw it. I saw a small branch crawling through the space in the door frame. I prayed faster.

All in all, it was a wonderful trip full of fun, food, and productivity! The Cambridge Writers’ Workshop’s new anthology CREDO: An Anthology of Manifestos & Sourcebook for Creative Writing (eds. Rita Banerjee & Diana Norma Szokolyai, May 15, 2018) can be pre-ordered form C&R Press here!  Until next time, stay wonderful NOLA!

–Rachel Kurasz, CWW Media & Communications Intern

Cambridge Writers’ Workshop presents Disobedient Futures – A Split This Rock Festival Reading – Friday, April 20, 2018

Disobediant_Futures_Reading-updatedIn honor of the Split This Rock Poetry Festival: Poems of Provocation and Witness (April 19-21, 2018), the Cambridge Writers’ Workshop will be hosting its reading Disobedient Futures at the Colony Club in Washington D.C. this Friday, April 20, 2018 from 5:30 pm – 7:30 pm.  Disobedient Futures will feature readings from Rita BanerjeeAlex CarriganMarlena Chertock, and Christina M. Rau .

To get to the reading at the Colony Club, please take the Green line Metro towards Greenbelt and exit at the Columbia Heights Station, then walk to 3118 Georgia Ave NW, Washington DC 20010.

Featured Readers:

Rita BanerjeeRitaBanerjee is the editor of CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing (C&R Press, May 2018) and the author of the poetry collection Echo in Four Beats (Finishing Line Press, March 2018), the novella “A Night with Kali” in Approaching Footsteps (Spider Road Press, 2016), and the poetry chapbook Cracklers at Night (Finishing Line Press, 2010). She received her doctorate in Comparative Literature from Harvard and her MFA in Creative Writing from the University of Washington, and her writing appears in the Academy of American PoetsPoets & Writers, Nat. Brut.The Rumpus, Painted Bride Quarterly, Mass Poetry, Hyphen Magazine, Los Angeles Review of BooksElectric Literature, VIDA, Objet d’Art, KBOO Radio’s APA Compass, and elsewhere. She is the Executive Creative Director of the Cambridge Writers’ Workshop.   She is the judge for the 2017 Minerva Rising “Dare to Speak” Poetry Chapbook Contest, and she is currently working on a novel, a book on South Asian literary modernisms, and a collection of lyric essays on race, sex, politics, and everything cool.

Alexander Carrigan is the Communications and PR manager for the Cambridge Writers’ Workshop and has been with the organization since 2014. He is currently an associate editor with the American Correctional Association. He has had fiction, poetry, reviews (film, TV, and literature), and nonfiction work published in Poictesme Literary Journal, Amendment Literary Journal, Quail Bell Magazine, Luna Luna Magazine, Rebels: Comic Anthology at VCU, Realms YA Literary Magazine, and Life in 10 Minutes. He lives in Alexandria, VA. Carrigan is the author of “First Person Perspective Flash Fiction Prompts” in the Exercises section of CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing (C&R Press, May 2018).

Marlena Chertock has two books of poetry, Crumb-sized (Unnamed Press, 2017) and On that one-way trip to Mars (Bottlecap Press, 2016). She lives in Washington, D.C. and uses her skeletal dysplasia and chronic pain as a bridge to scientific poetry. Her poems and short stories have appeared in Breath & Shadow, The Deaf Poets Society, Noble/Gas Quarterly, Paper Darts, Rogue Agent, Wordgathering, and more. Marlena often moderates or speaks on panels at literary conferences and festivals. She serves as the Communications Coordinator for the LGBTQ Writers Caucus. Find her on Twitter at @mchertock.

Christina M. Rau is the author of the sci-fi fem poetry collection, Liberating The Astronauts (Aqueduct Press, 2017), and the chapbooks WakeBreatheMove (Finishing Line Press, 2015) and For The Girls, I (Dancing Girl Press, 2014). Her poetry has also appeared on gallery walls in The Ekphrastic Poster Show, on car magnets for The Living Poetry Project, and in various literary journals both online and in print. She is the founder of the Long Island reading circuit, Poets In Nassau, and has read and run workshops for various community groups nationwide. She teaches English and Creative Writing at Nassau Community College where she also serves as Poetry Editor for The Nassau Review. In her non-writing life, she teaches yoga occasionally and line dances on other occasions.

Our readers Rita BanerjeeMarlena Chertock, and Christina M. Rau will also be hosting a panel during Split This Rock, entitled Fantasy As Reality: Activism & Catharsis in Speculative Writing,” which will be held at National Housing Center Room B (1201 15th Street NW, Washington, DC 20005) on Saturday, April 21 from 9-10:30 am. The Fantasy As Reality is described below:

“This panel will demonstrate how non-realist poems and prose can offer a space for political critique and empowerment. We will ask audience members about their own speculative writing and reading experiences and offer prompts to those who wish to work on similar future writing. Speculative and science fiction are often stereotyped as futuristic, extraterrestrial, and fantastical romps through universes using space travel, time travel, and super-advanced technology centered on white cis males. However, women, non-binary, and activist writers of speculative literature are purposefully subverting this stereotype, diversifying and owning the fantastical worlds that they imagine. Speculative literature, at its core, is about giving voice to ‘The Other.’ Speculative writing, in prose or poetry, focuses on not only imagined realities of the future, past, and present but also gives voice to bodies and individuals who are disabled, alien, marginalized, menial workers, and other traditionally neglected voices. Sci-fi and fantasy characters and voices can—and should—represent the underrepresented to create a sense of community as well as to challenge injustices in our real world.”

We hope to see you at some of our events at Split This Rock !

Congratulations to Emily Nemens, our 2017 CWW Spring in New Orleans Writing Instructor, for her appointment as Editor of The Paris Review

The Cambridge Writers’ Workshop would like to give a hearty congratulations and three cheers to Emily Nemens, co-editor of The Southern Review, and our 2017 Spring in New Orleans Writing Retreat Instructor, for her new appointment as Editor of The Paris Review.  On Ms. Nemens’s appointment, The New York Times writes:

Emily Nemens, a co-editor of The Southern Review, seems agnostic and omnivorous when it comes to narrative mediums. In addition to publishing poetry, fiction and essays, she is a prolific illustrator who has amassed a large following on Tumblr for her watercolor portraits of women serving in Congress.

She will now take on a more prominent role in American letters. On Thursday, she was named the new editor of The Paris Review, one of the most prestigious literary magazines in the United States.

Ms. Nemens, who lives in Baton Rouge, La., and has been a co-editor of The Southern Review since 2013.

“Her literary tastes, her accomplishments, the combination of her work ethic and her sense of collaboration — both with her writers and her staff — make her a really unique package of talent,” said Akash Shah, a Paris Review board member who led the search for a new editor. “This is someone who is on a steep trajectory, and The Paris Review is going to benefit from that.”

Ms. Nemens’s eclectic taste and creative ambitions proved to be a draw for the Paris Review board, which chose Ms. Nemens over a pool of candidates better known in New York’s literary circles. Ms. Nemens will begin her new job on June 1.

Read the full New York Times article on Emily Nemens here.  Our warm congratulations to Emily Nemens on her new position, and best wishes for much continued success!

Echo in Four Beats Launch Party at the Weehawken Writers and Artists Studio! Sunday, April 8, 6-9 pm

Sunday, April 8 * 6-9 pm
Weehawken Writers & Artists Studio
10 Louisa Pl.,
Weehawken, NJ 07086

Admission: Free

The Weehawken Writers & Artists Studio is delighted to host the launch party of Rita Banerjee’s debut poetry collection Echo in Four Beats !

Combining elements, rhythms, and personas from American jazz, blues, and ragtime, poet Rita Banerjee presents a modern-day spin on the love story of Echo and Narcissus in her debut full-length poetry collection, Echo in Four Beats . But in this story, told in four parts, Echo is more than just a fragment, she is a Sapphic voice that speaks, foretells, forestalls, and repeats. Echo in Four Beats, which was a finalist for the Red Hen Press Benjamin Saltman Award, the Three Mile Harbor Book Prize, the Aquarius Press/Willow Books Literature Award, was released by Finishing Line Press this March!

Books will be be available for purchase and signing by Rita!
Readings by: Rita BanerjeeDallas Athent , Jonah Kruvant, and more!

About the Authors:

Rita BanerjeeRitaBanerjee is the editor of CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing (C&R Press, May 2018) and the author of the poetry collection Echo in Four Beats (Finishing Line Press, March 2018), the novella “A Night with Kali” in Approaching Footsteps (Spider Road Press, 2016), and the poetry chapbook Cracklers at Night (Finishing Line Press, 2010). She received her doctorate in Comparative Literature from Harvard and her MFA in Creative Writing from the University of Washington, and her writing appears in the Academy of American PoetsPoets & Writers, Nat. Brut.The Rumpus, Painted Bride Quarterly, Mass Poetry, Hyphen Magazine, Los Angeles Review of BooksElectric Literature, VIDA, Objet d’Art, KBOO Radio’s APA Compass, and elsewhere. She is the Executive Creative Director of the Cambridge Writers’ Workshop.   She is the judge for the 2017 Minerva Rising “Dare to Speak” Poetry Chapbook Contest, and she is currently working on a novel, a book on South Asian literary modernisms, and a collection of lyric essays on race, sex, politics, and everything cool.

Dallas Athent is an art reviewer for At Large Magazine, a board member of Nomadic Press and the editor of the short story collection, Bushwick Nightz. Her writing has appeared in Buzzfeed CommunityPACKET Bi-WeeklyPANK MagazineVIDA Reports from the FieldBUST Magazine, Yes Poetry & more.  She has been an editor for Bushwick Daily and Luna Luna Magazine. Her work has been profiled in Bedford + Bowery of New York Magazine, Brooklyn Based, Brooklyn Magazine, Papermag among others.

A writer, teacher, and student of the world, Jonah Kruvant received his Bachelor’s degree from Skidmore College, his Master’s degree in Teaching from Fordham University, and his MFA degree from Goddard College.  After living abroad in four different countries, Jonah moved back to his native New Jersey, where he wrote The Last Book Ever Written, published by PanAm Books in April, 2015. His work has appeared in Digital Americana, Bewildering Stories, Fiction on the Web, On the Verge, the Scarlet Leaf Review, and LIMN Literary and Arts Journal. He currently lives in Jersey City.

Literary Manifestos and What’s at Stake Workshop at the Weehawken Writers and Artists Studio – April 8, 2-4 pm

Literary Manifestos & What’s at Stake Workshop
Sunday, April 8 * 2-4 pm * Admission: $30

Weehawken Writers & Artists Studio
10 Louisa Pl., Weehawken, NJ 07086

The Weehawken Writers & Artists Studio is delighted to host a creative writing workshop on  Literary Manifestos & What’s at Stake Workshop!  To sign-up for the workshop, please register on Meetup.com!

CREDO. I believe. No other statement is so full of intent and subversion and power. A Credo is a call to arms. It is a declaration. A Credo is the act of an individual pushing back against society, against established stigmas, taboos, values, and norms. A Credo provokes. It desires change. A Credo is an artist or community challenging dogma, and putting oneself on the front line. A Credo is art at risk. A Credo can be a marker of revolution. A Credo, is thus, the most calculating and simple form of a manifesto. In this creative writing workshop, writers will get a chance to create their own literary manifestos and discuss what’s at stake in their own writing, art, and craft. We will read literary manifestos and poetry from writers such as Allen Ginsberg, Sunil Gangopadhyay, Amiri Baraka, and Bianca Stone, and will explore how writers and readers become more invested in a work of writing, its performance, and its narrative by raising the stakes.

About the Instructor:

Rita BanerjeeRitaBanerjee is the editor of CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing (C&R Press, May 2018) and the author of the poetry collection Echo in Four Beats (Finishing Line Press, March 2018), the novella “A Night with Kali” in Approaching Footsteps (Spider Road Press, 2016), and the poetry chapbook Cracklers at Night (Finishing Line Press, 2010). She received her doctorate in Comparative Literature from Harvard and her MFA in Creative Writing from the University of Washington, and her writing appears in the Academy of American PoetsPoets & Writers, Nat. Brut.The Rumpus, Painted Bride Quarterly, Mass Poetry, Hyphen Magazine, Los Angeles Review of BooksElectric Literature, VIDA, Objet d’Art, KBOO Radio’s APA Compass, and elsewhere. She is the Executive Creative Director of the Cambridge Writers’ Workshop.   She is the judge for the 2017 Minerva Rising “Dare to Speak” Poetry Chapbook Contest, and she is currently working on a novel, a book on South Asian literary modernisms, and a collection of lyric essays on race, sex, politics, and everything cool.

Nominate CREDO and the Cambridge Writers’ Workshop for the 2018 Saboteur Awards!

Nominations are now open for the 2018 Saboteur Awards sponsored by Sabotage Reviews!  Voting takes place here: https://form.jotformeu.com/80625273550353

And we encourage our readers and writers to nominate CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing for Best Anthology and the Cambridge Writers’ Workshop for Best Wildcard. Sabotage Reviews was founded in 2010 by Claire Trévien to “provide dynamic commentary and reviews of small-scale and ephemeral literature” with a focus on independent and small presses.

CREDO is edited by writers and CWW co-directors Rita Banerjee and Diana Norma Szokolyai and assistant editors Alexander Carrigan and Megan Jeanine Tilley. CREDO advocates for the empowerment of female, LGBTQ+, and other marginalized literary voices, with essays and manifestos that cover a wide range of subjects, including transgender poetics, world literature and aesthetics, collage and appropriation, and the politics of place. By presenting a triad of creative writing manifestos, essays on the craft of writing, and creative writing exercises, CREDO bridges the theoretical, political, and aesthetic perspectives on contemporary writing with practical and accessible writing advice.

In the manifestos, “One Memoir” and “The Body of a Poem,” we hear from the strong voices of LGBTQ+ icons Jade Sylvan and Stephanie Burt, respectively. Also from the manifestos section, David Shields declares, “I want work that, possessing as thin a membrane as possible between life and art, foregrounds the question of how the writer solves being alive. A book should either allow us to escape existence or teach us how to endure it.” Nell Irvin Painter inspires us and reminds us of the commitment it takes to dedicate our time to creating art. And Matthew Zapruder’s piece “Holding a Paper Clip in the Dark” is exquisite and hopeful, as Zapruder speaks directly to the reader, with an encouraging and inviting tone: “What do I want? I want you (reader) to look at these poems as places that feel to me private to my own experience, yet also common to all of our experiences.”

We feel that CREDO is unique in how it bridges the philosophical with the practical act of writing and also how it gives voice to established and emerging writings speaking from a variety of perspectives. CREDO is a reflection of the Cambridge Writers’ Workshop’s desire to foster artistic communities and encourage creative expression in an all-inclusive environment. Since 2008 the CWW has been open to all emerging and established writers in Cambridge, MA and beyond.

Nominations close March 31, 2018! So please vote here: https://form.jotformeu.com/80625273550353  

Thank you so much for your support and being a part of our community!

Apply to the Cambridge Writers’ Workshop Spring in New Orleans (April 13-16) Writing Retreat by March 20!

Apply to the Cambridge Writers’ Workshop Spring in New Orleans (April 13-16, 2018) Writing Retreat by March 20, 2018 on cww.submmittable.com!  Known for its Spanish and French architecture, live jazz, cajun food, and street festivals, New Orleans offers an inspirational and one-of-a-kind experience for writers.  Our retreat features multi-genre workshops, as well as craft seminars and time to write.

The faculty includes award-winning writers & a top NYC literary agent: Rita BanerjeeDiana Norma Szokolyai, and Natalie Kimber. All genres welcome. Genres include playwriting, nonfiction, fiction, and poetry. The cost of the retreat is $1200, which includes tuition, lodging, and some meals.

If you’d like to join us in NOLA, please apply by March 20, 2018 by submitting 5-10 pages of poetry, fiction, creative nonfiction, or a play with a $10 application fee, a cover letter, and references at cww.submittable.com. Please also include the following in your cover letter:

1. Full Legal Name
2. Contact Information (Email, Address, Phone)
3. Age & Nationality
4. Prior Workshop Experience and Publications
5. Creative Writing Goals for the Retreat
6. Short One-paragraph Biography
7. Contact info of Two Personal References (Name, Email, Address, Phone, Relationship to Applicant)

Due to limited seats, early applications are encouraged. Applications are due March 20, 2018.

apply

Deadline: March 20, 2018

Schedule of Classes:

Featured Faculty:

Natalie Kimber is an Associate Literary Agent at The Rights Factory, and started her career in publishing as an assistant to Muriel Nellis at Literary and Creative Artists Inc., and later worked at Georgetown University’s Booklab, where she developed academic and trade book proposals, fiction titles, and edited books for New Academia PublishingShe joined with The Rights Factory in 2014, helping the Toronto based agency expand its operations in New York.  She represents a wide array of writers in the adult trade fiction and nonfiction space, and particularly favors books that showcase truly creative writing and books that unveil meaningful new ways to see the world and ourselves in it. She currently lives in Weehawken, NJ, overlooking the Hudson River and Manhattan, where she founded the Weehawken Writers and Artists Studio with a view to help creatives of all kinds collaborate, learn, and share their creative process through workshops and events.

ritabanerjeeRita Banerjee is the Executive Creative Director of the Cambridge Writers’ Workshop and editor of CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing  (C&R Press, May 2018).  She is the author of the poetry collection Echo in Four Beats (Finishing Line Press, February 2018), which was a finalist for the Red Hen Press Benjamin Saltman Award, Three Mile Harbor Poetry Prize, and Aquarius Press / Willow Books Literature Award, the novella “A Night with Kali” in Approaching Footsteps (Spider Road Press, 2016), and the poetry chapbook Cracklers at Night (Finishing Line Press, 2010). She received her doctorate in Comparative Literature from Harvard and her MFA in Creative Writing from the University of Washington, and her writing appears in the Academy of American Poets, Poets & Writers, Nat. Brut.The ScofieldThe Rumpus, Painted Bride Quarterly, Mass Poetry, Hyphen Magazine, Los Angeles Review of BooksElectric Literature, VIDA: Women in Literary Arts, AWP WC&C Quarterly, Queen Mob’s Tea House, Riot Grrrl Magazine, The Fiction Project, Objet d’Art, KBOO Radio’s APA Compass, and elsewhere.  She is an Associate Scholar of Comparative Literature at Harvard and teaches at Ludwig Maximilian University of Munich in Germany.  She is the judge for the 2017 Minerva Rising “Dare to Speak” Poetry Chapbook Contest, and she is currently working on a novel, a documentary film about race and intimacy, a book on South Asian literary modernisms, and a collection of lyric essays on race, sex, politics, and everything cool.

Headshot.McCarrenPark,WillamsburgDiana Norma Szokolyai is a writer and Executive Artistic Director of Cambridge Writers’ Workshop. Her edited volume, CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing, will be released by C&R Press in May 2018.  She is author of the poetry collections Parallel Sparrows (honorable mention for Best Poetry Book in the 2014 Paris Book Festival) and Roses in the Snow (first runner-­up Best Poetry Book at the 2009 DIY Book Festival). She also records her poetry with musicians and has collaborated with several composers including David Krebs (US), Robert Lemay (Canada), Claudio Gabriele (Italy), Peter James (UK), Jason Haye (UK), and Sebastian Wesman (Estonia). Diana Norma is a founding member of the performing arts groups Sounds in Bloom, ChagallPAC, and The Brooklyn Soundpainting Ensemble.  Her poetry-music collaboration with Flux Without Pause, “Space Mothlight,” hit #16 on the Creative Commons Hot 100 list in 2015, and can be found in the curated WFMU Free Music Archive. Her work has been recently reviewed by The London Grip and published in VIDA: Reports from the Field, The Fiction Project, Quail Bell Magazine, Lyre Lyre, The Boston Globe, Dr. Hurley’s Snake Oil Cure, The Dudley Review and Up the Staircase QuarterlyThe Million Line Poem, The Cambridge Community Poem, and elsewhere, as well as anthologized in Our Last Walk, The Highwaymen NYC #2, Other Countries: Contemporary Poets Rewiring History, Always Wondering, and Teachers as Writers.  She is currently at work on her next book and an album of poetry & music.  Diana Norma holds a M.A. in French (UCONN, La Sorbonne) and an Ed.M in Arts in Education (Harvard).  Diana Norma Szokolyai is represented by Nat Kimber (The Rights Factory).

FAQ:

What happens after I apply?

Once you apply, you can expect to hear from us within 7-10 days and know whether you were accepted into the program. Once you are accepted, you will receive a welcome packet with detailed information regarding the program.

What is the process of paying tuition?

Once you are accepted into the program, you will need to pay a 30% tuition deposit to hold your seat within 3-5 days of acceptance. This amount is non-refundable. The remainder of tuition will be due by March 15, 2018. Our standard and preferred method of payment is PayPal invoice. You can also mail us a check.

What is included in tuition?

  • creative writing workshops
  • craft of writing seminars
  • lodging in NOLA
  • breakfasts & some other meals
  • walking tour of downtown New Orleans and Cafe du Monde

I’m local to New Orleans. Is there a tuition only option?

Yes. The tuition-only option is $675.  For more information, please inquire at info@cambridgewritersworkshop.org.

What are accommodations like?

During the retreat, we will be staying in the lovely Algiers Point neighborhood, just a short ferry ride away from the Historic French Quarter.  Writers will be staying at our retreat house and at a hotel nearby.  Rooms at the retreat house will be provided to early registrants first.