Tag Archives: kelly writers house

Celebrating the Work of Cid Corman – Live Today 9/16

From Al Filreis

cid-corman

 

On Tuesday, September 16 the Kelly Writers House will host two events celebrating the work of Cid Corman. Both events will be webcast live. To connect to the video stream, go here

http://writing.upenn.edu/wh/multimedia/tv/ at the time of each event.

At 4 PM (Philadelphia time) I will moderate a discussion about Corman’s work featuring Thomas Devaney, Gregory Dunne, and Frank Sherlock.

At 6 PM (Philly time) there will be a celebratory reading. We have invited eight poets, scholars, and fans of Cid Corman—Laynie Browne, Thomas Devaney, Gregory Dunne, Pattie McCarthy, Jenn McCreary, Joshua Moses, Frank Sherlock & myself—to read and briefly comment upon selected Corman poems, one poem per person.

If you are in the Philadelphia area, you are of course welcome to come to 3805 Locust Walk and join us in person. Otherwise, we hope you will click on KWH-TV at the link above and will watch the live stream.

 

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Modern & Contemporary American Poetry

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From Al Filreis

ModPo – a free, entirely open, non-credit, discussion-based 10-week course on modern & contemporary U.S. poetry – begins its 2014 session on September 6. Everyone is welcome to join us. Click here –

https://www.coursera.org/course/modernpoetry  – to enroll.

ModPo 2014 includes several new features in addition to the 10-week survey of mod American poets & poems. New is an entire set of resources for teachers. (We encourage teachers at all levels to join us.) And new, too, is “ModPoPLUS,” a supplemental syllabus that parallels the main ModPo syllabus – additional poems, links to audio and video, and video-recorded close readings of the poems.

ModPo people gather together for meet-ups in many majors cities around the world. The ModPo team this year will be coming to New York, Washington DC, and Prague.

If you are new to modern poetry, join us anyway and don’t worry: TAs and Community TAs (people who have taken ModPo before and are volunteering to help with discussions) and your instructors stand by pretty much always to guide you and answer your questions.

And ModPo hosts weekly live interactive webcasts.

ModPo is committed to the idea that massive open online courses need not be impersonal, and that collaborative collective close readings of supposedly difficult poems can shed new interpretive light on them.

(ModPo’s new section of teacher resources is a collaboration of the Kelly Writers House at the University of Pennsylvania and the Institute for Writing and Thinking at Bard College.)

 

Alice James Books Celebration – November 19th

 ajbooks
Tuesday, November 19th at 6:00pm
ALICE JAMES BOOKS CELEBRATION
Featuring Shara McCallum, Richard McCann, Mihaela Moscaliuc, and Lisa Sewell
Co-sponsored by: the Creative Writing Program
KELLY WRITERS HOUSE
University of Pennsylvania
3805 Locust Walk Philadelphia, PA 19104
Alice James Books is a nonprofit cooperative poetry press, founded in
1973 by five women and two men: Patricia Cumming, Marjorie Fletcher,
Jean Pedrick, Lee Rudolph, Ron Schreiber, Betsy Sholl and Cornelia
Veenendaal. Their objectives were to give women access to publishing and
to involve authors in the publishing process. The press remains true to
that original mission and to publishing a diversity of poets including
both beginning and established poets, and a diversity of poetic styles.
 .
Alice James Books is one of the original and few presses in the country
that is run collectively. Our cooperative selects manuscripts for
publication through both regional and national annual competitions. The
cooperative offers two book competitions a year: the Kinereth Gensler
Award and the Beatrice Hawley Award. The winners of the Kinereth Gensler
Award competition become active members of Alice James Books and act as
the editorial board after their manuscripts are selected for
publication. The winner of the Beatrice Hawley Award is exempt from the
cooperative work commitment.
 .
Originally from Jamaica, Shara McCallum is the author of four books of
poetry: The Face of Water: New and Selected Poems, This Strange Land, a
finalist for the 2012 OCM Bocas Prize for Caribbean Literature, Song of
Thieves, and The Water Between Us, winner of the 1998 Agnes Lynch
Starrett Prize for Poetry. For her poems, she has received awards and
fellowships, including a 2013 Witter Bynner Fellowship from the Library
of Congress and a 2011 National Endowment for the Arts Poetry
Fellowship. Her work has appeared in journals, anthologies, and
textbooks in the US, UK, the Caribbean, Latin America, and Israel and
been translated into Spanish and Romanian. She lives with her family in
Pennsylvania, where she is Director of the Stadler Center for Poetry and
Professor of English at Bucknell University.
 .
Richard McCann is the author of Mother of Sorrows, a work of fiction,
and Ghost Letters, a collection of poems (1994 Beatrice Hawley Award,
1933 Capricorn Poetry Award). He is also the editor (with Michael Klein)
of Things Shaped in Passing: More ‘Poets for Life’ Writing from the AIDS
Pandemic. His fiction, creative nonfiction, and poetry have appeared in
such magazines as The Atlantic, Ms., Esquire, Ploughshares, Tin House,
and the Washington Post Magazine, and in numerous anthologies, including
The O. Henry Prize Stories 2007 and Best American Essays 2000. He is
currently working on a memoir, The Resurrectionist, which explores the
experience and meanings of illness and mortality through a narrative
exploration of his experience as a liver transplant recipient. For his
work, Richard McCann has received grants and awards from the Guggenheim
Foundation, the National Endowment for the Arts, the Christopher
Isherwood Foundation, the Fulbright Foundation, Yaddo, The MacDowell
Colony, the Virginia Center for the Creative Arts, and the Fine Arts
Work Center in Provincetown, on whose Board of Trustees he served from
2000-2008. He earned his MA in Creative Writing and Modern Literature
from Hollins University and his Ph.D. in American Studies from the
University of Iowa, where he was a Rockefeller Fellow. He grew up in
Silver Spring, Maryland, and he has lived in numerous places, including
Sweden, Germany, and Spain. He now lives in Washington, DC, where he
teaches in the MFA Program in Creative Writing at American University.
He also serves the Board of Directors of the PEN Faulkner Foundation and
is a Member of the Corporation of Yaddo.
 .
Mihaela Moscaliuc is the author of Father Dirt, winner of the Kinereth
Gensler Award from Alice James Books and translator of Carmelia Leonte’s
The Hiss of the Viper (Carnegie Mellon UP, forthcoming). She is the
editor of a collection of essays on poet Gerald Stern (Trinity
University Press, 2014). Her poems, translations, reviews and articles
have appeared in Arts & Letters, America, Mid-American Review, The
Georgia Review, TriQuarterly, and Poetry International among others. Her
articles on Roma/Gypsies and on poet Kimiko Hahn appear in History of
the Literary Cultures in East-Central Europe. Junctures and Disjunctures
in the 19th and 20th Centuries, in Soundings, An Interdisciplinary
Journal, and in Orient and Orientalisms in American Poetry and Poetics.
She is Assistant Professor of English at Monmouth University and core
faculty in the MFA Program in Poetry and Poetry in Translation at Drew
University.
 .
Lisa Sewell is the author of The Way Out (Alice James Books), Name
Withheld (Four Way Books), and Long Corridor, which won the 2009
Keystone Chapbook Award. She is also co-editor, with Claudia Rankine, of
American Poets in the 21st Century: The New Poetics and Eleven More
American Women Poets in the 21st Century: Poetics Across North American,
both from Wesleyan UP. Recent work has appeared or is forthcoming in
Ploughshares, Harvard Review, The Fox Chase Review and Drunken Boat. She
teaches in the English Department at Villanova University.

It’s National Poetry Month – FCR and Links to Reading Venues in Philly

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It’s National Poetry Month and the Philadelphia Poetry Scene offers poets and lovers of poetry many venues and magazines to enjoy  during the month.

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The Fox Chase Review and Reading Series offers our online review at www.foxchasereview.org offering a blend of local, national and international poets and writers. The reading series is held at Ryerss Museum and Library and on April 28th will feature Poets Christine Klocek-Lim and Le Hinton and an open mic following the features.(https://foxchasereview.wordpress.com/2013 ) 

Our blog https://foxchasereview.wordpress.com/ offers information on the reading series, interviews, book reviews, poetry news and general information. We hope you take the time to get to know the review and reading series and come out to Ryerss to listen to great poetry.

The scene in the Philadelphia area is vibrant and we offer the following links in no particular order to reading series we believe you will enjoy:

national poetry month 2

Moonstone Arts Center: http://www.moonstoneartscenter.org/

Philadelphia Poetry Festival: http://phillypoetryfest.blogspot.com

Apiary: http://apiarymagazine.com/

Asian Arts Initiative: http://www.asianartsinitiative.org/programs/performances.php

International House: http://ihousephilly.org/events/national-poetry-month-rudy-burckhardt/

Philadelphia Stories: http://www.philadelphiastories.org/

Kelly Writers House: http://writing.upenn.edu/wh/

Painted Bride Quarterly: http://pbq.drexel.edu/

Russian Heritage Festival : http://www.mosaicafestival.com/

National Museum of American Jewish History Presents-  Words Off the Page: An Evening with Distinguished Women Poets http://www.nmajh.org/CalendarEvent.aspx?eventid=34

Temple Poets and Writers Series: http://www.temple.edu/creativewriting/events/PnW/

Rosemont College National Poetry Month Celebration http://www.rosemont.edu/safety-alerts/index.aspx

The Muse House: http://www.musehousecenter.com/

national poetry month 3

Chapter and Verse: http://chapterhousereadings.blogspot.com/

Philadelphia Poetry Collective: http://www.philadelphiapoetrycollective.com/

Moveable Beats: http://moveablebeats.wordpress.com/

Montgomery County Poet Laureate Program: http://www.a2pwebdesign.com/montcopoet/

Manayunk Roxborough Arts Center:  http://mrartcenter.org/

Panoramic Poetry: https://www.facebook.com/panoramic.poetry

Philadelphia Poets: http://home.comcast.net/~redrose108/site/?/event/

Poets and Prophets: http://www.poetsandprophets.com/newsandevents.html

Mad Poets Society: http://www.madpoetssociety.com/

Monday Poets at the Main Philadelphia Library: http://www.freelibrary.org/libserv/monpoets.htm

NATIONAL POETRY MONTH 4

Philly Cypher: http://www.phillycypher.com/

Philadelphia Youth Poetry Movement: http://phillyyouthpoets.org/

The Pigeon Presents: https://www.facebook.com/thephillypigeon

Green Line Café: http://greenlinecafe.com/4689-2/poetry/

Poetdelphia: http://poetdelphia.wordpress.com/

Community College of Philadelphia: http://www.ccp.edu/site/academic/creativewriting/writers_festival.html

Philadelphia Spoken Word : http://www.poetry247.com/philadelphia/

If we missed a venue please send us a link and we will include it the listing.

Foxchasereview@gmail.com

-g emil reutter

Ashbery Live Stream from Kelly Writers House

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From Al Filreis

John Ashbery will give a reading tonight at 6:30 PM eastern time, and tomorrow Al Filreis will interview him and moderate a discussion (with Q&A) starting right at noon eastern time. For both programs, click here                http://writing.upenn.edu/wh/multimedia/tv/

 

10 Questions for Diane Sahms-Guarnieri

Diane Sahms-Guarnieri reads at Bollingbroke (2)Diane Sahms-Guarnieri is a native Philadelphia poet and currently the poetry editor of The Fox Chase Review. She has served on the Editorial Board of Philadelphia Stories magazine (2006-2008); founded The Center City Poets Workshop (2006-2011); founded and runs The Tenth Muse Poetry Workshop (2012- ); and currently co-hosts The Fox Chase Reading Series at Ryerss Museum and Library. She is a graduate of East Stroudsburg State University and has performed post graduate work at Holy Family University.  Her poetry has been published widely in the small and electronic press.

Interview by: g emil reutter

The Interview: 

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GER: You are the poetry editor of The Fox Chase Review and served on the editorial board of Philadelphia Stories Magazine. Tell us of the experience and what does a poetry editor look for in a submission? DSG:

As Poetry Editor of The Fox Chase Review (2009 – present), and one of several Poetry Editors at Philadelphia Stories Magazine (2006 – 08), I have learned through explication how to detect well-crafted poems.

Crafting is an important factor when a poet submits his/her poem(s) to a magazine for consideration.  Basically, the appearance of the poem on the page is important – Does content match form?   Equally important (or maybe, a notch higher on the review level) – What is the poet writing to the reader, that is, what is the poem doing? Or not doing? Why is it relevant?  Is it informing the reader of something the reader doesn’t know or needs to be reminded of (philosophical); Is it entertaining (comedic); Is it sharing an experience about love, death, hate, misunderstandings, relationships, nature, etc.; Is it using words (language) in a modernistic or post modernistic way; etcetera.

A poem is written to be read.  As an editor of a magazine, I want people to read the poems that are published, so I am looking for any form of poetry that is well crafted and offers the reader something that they will continue to think about after they have read a poet’s poem.

Diane Sahms-Guarnieri where the Lehigh meets the Delaware River

images_being

GER: Your first collection of poetry, Images of Being, was released in 2011. Share with us the development of the collection and your journey from inception to publication.

DSG:I could write a novel about my ten-year- journey from the inception of Images of Being  to its publication, because to me poetry has been the purest art form that has allowed the inner me to express myself through images that have defined my existence as a human being.  It is my “Truth”: the truth that has set me free to be me.  As I grow as a person, I grow as a poet and vice versa.

GER: Although you are a Philadelphia Poet your poems not only reflect the city but extend their reach into the realism and imagery of life. How important is it for a poet not to be geographic centric?

DSG: Hmmm… hard question, because I can write about the human condition, in fact, I have written poems about injustice in North Korea and Afghanistan and poems about being human and the shared experiences that make us human – love and the absence of love; sufferings and the result of sufferings; death and the pain of losing someone; relationships with family, friends, co-workers, strangers, etc.  Life has no limits; and therefore a poet must have no limits and should write about the human condition, which spans the globe, the heavens, and even enters into hell.

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I am not geographic centric; however I write about my city because I know my city and I love my city.  It runs through my veins, is the essence of my existence.  I have an immense respect for the people I have known whom lived, worked, and died in my city, including many of my own family members.   On my paternal side, my father and several of his brothers devoted their entire lives to working in the textile mills of Roxborough and Manayunk, and they died from emphysema.  {One-third of the poems in Images of Being are devoted to my childhood.  It is written  “In Memory” of my father and several poems were written about him, as follows:  “Still Life”; “Another Shirley Temple”;” Snowman”; “Rest Stops”;” Easter”; and “Machine Machines Monstrous Machines.”}   My maternal grandmother (“Madeline”) worked at Freedom Felt, a company that manufactured brake linings using asbestos.  She died from asbestosis.  Lastly, my mother worked as a cleaning lady (“Daisy”) at my elementary school, James Dobson, located in Manayunk.  This is not a trivial matter!  My family has given themselves to my city and that means a lot to me, and I write about them because I respect them and their sacrifices.  They are my connection to my city, the sweat and blood of my family.

Currently, and thinking more globally, Chinese textile workers, unfortunately, are being exposed to the same deadly diseases that caused sufferings and deaths to my family members.  So writing locally about Philadelphia’s Industrial maladies may enlighten the Chinese of potential sufferings, and maybe, the mill owners will protect their workers.  Somehow I doubt it, ‘cause money rules, but there is always hope that others will learn from our mistakes and misfortunes.  (Can anyone translate English into Chinese?)

Third Thursdays Poetry Night Doylestown Bookshop Pennsylvania (2)

GER: Over the last two years you have toured the poetry circuit in support of your work. Share with us your travels and experiences at the various venues you have read at.

DSG: Travels: Touring has given me an unique opportunity to not only share my work with poets and people in the Philadelphia region, but it also has allowed me to share my work with poets and people in New York, New York; Cambridge, MA; Woodbury & Millville, NJ; Wilmington, De; and in the following places in Pennsylvania: Lancaster, Harrisburg, Wyncote, Radnor, Bryn Mawr, Norristown, New Hope, & Easton.  I have been extremely fortunate to have met so many interesting and inspiring people.

Experiences:  I have actually learned that one will not make money from touring.  Yes, you will sell a few books here, many more there, none there, but you will never make money.  On longer trips (Massachusetts), you most definitely will come out- of- pocket, but you can justify this by telling yourself it coupled as a vacation.  Trips to Harrisburg and New York, well, you may break even depending on the audience.   After reading at “Second Saturday Poets” in Delaware, I was invited to host a well- attended all day workshop.  Thanks Delaware! Lancaster give me a magnet and T-shirt and despite the fact that I had to read in the children’s section of Barnes and Noble with Winnie the Pooh as a backdrop, their sound system allowed me to attract a few non-poet shoppers to listen for a while. For me, the best part of touring was meeting other poets from other places and non-poets who actually appreciated poetry!   

Benefits:   After a year of touring, I actually started to feel more confident reading my poems to an audience.  With confidence, I believe my “reading” performance has been enhanced.  I have come to the conclusion that there are poems that are “page” poems and “audience” poems.  To elaborate, “page” poems are more complicated and/or heady poems and are meant for a reader to read and re-read slowly, calmly, and in the confines of solitude.  “Audience” poems are those poems that are more musical and/or narrative in nature, which make it easier for the listener to follow, as you read with rhythm, feeling, proper breathing, and annunciation.  By reading and re-reading poems aloud, you learn how to accent the poem where you want the listener to really hear and feel what you are reading.  Three poems which have never failed me and fit nicely into this definition of “audience” poems, are “Laundry”;” Machines, Machines, Monstrous Machines”; and “My Lover.” 

Diane Sahms-Guarnieri (2)GER: What poets have influenced you as a poet and how important is it for a poet to be well read in the art?

DSG: The poets who influence me are usually the poets that I am reading at the time I am working on a poem(s), not always the case, but many times it works out that way for me.  In my early days of writing, I read Joel Conarroes, Six American Poets and then his Eight American Poets Anthologies and fell in love with all 14 poets: Whitman, Dickinson, Stevens, Williams, Frost, Hughes, and then Bishop, Merrill, Plath, Ginsberg, Roethke, Berryman, Sexton, and Lowell, respectively.   Although, I had a B.S. from East Stroudsburg University, as an adult and mother of three, I enrolled at Community College of Philadelphia (CCP) & Holy Family University (HFU) to earn a Secondary Education Teaching Degree in English, coupled with the fact that I wanted desperately to improve my literary skills. I studied American, English and World Literatures (I and II) and an array of literature and poetry  related topics (Creative Writing, Theatre, Public Speaking…), but gravitated toward Sexton, Plath, Frost, Browning, Roethke, Owens, Keats, Blake, and Whitman; and therefore wrote a lot of confessional, narrative, and character-type poems using metaphor (some floral), images, similes, listing, and internal rhyme.  At this time, I felt very connected to my childhood, marriage-gone- wrong, and ultimately love, which literally makes up the three sections of Images of Being, a poetic memoir of my life written from 1998 -2008.

Then I read Lorca, Neruda, & Rilke, and Merwin, Oliver, Olds, Ryan, Kooser, Gluck, and every poet under the sun in the translations set forth in Poems for the Millennium (Volume One) edited by J. Rothenberg and P. Joris.  This anthology contained a plethora of poets/poems from every imaginable school of poetry from all over the globe.  This overwhelming collection opened my mind and broadened my views on the construction of poems.  (Note:  Poems for the Millennium comes in a three volume set.)  Night Sweat, written from 2008-2012, my forthcoming collection, resonates the influence of some of these readings.

poet diane sahms-guarnieri reads (3)

My advice to any poet is to Read. Read. Read. poetry from the defined and undefined schools of poetry to translations of poems from all over the world.

GER: You have written poetry in free verse and a number of forms. How important is it for a poet to be diverse in the presentation of their poems?

DSG: I believe it is important for a poet to be diverse, but also believe that diversity in a poet’s poems comes with the growth of the poet, i.e., a poet must constantly challenge him/herself in various styles and forms, as the familiarity of various styles and forms will allow the poet an opportunity to place his/her words and/or poem(s) into a finished product, where form and content marry.

With that being said, I have personally challenged myself to convert a poem entitled “Hunger” into a ballad (because the poem wanted to be a ballad).   “Hunger” was written about a time that no longer exists in history, a time of a door- to- door salesman taking advantage of an illiterate mother and her improvised children, a home with no books.  A ballad seemed to sing it best.  I wrote a villanelle, because the form lent itself to my poem, “Narcissus,” about an egoist.  The repetitive lines of a French villanelle fed the subject matter of the egoist.  These poems appear in Images of Being.

In my second/forthcoming collection, Night Sweat, I didn’t use forms; however, I experimented with spacing and in some cases longer lines, concerning myself with how each poem appeared to the eye on the page.  For example, “Labyrinth of Dreams” is designed on the page to look like a labyrinth with dead ends and connective passage ways, so that the speaker’s journey through the poem emulates a labyrinth.  I also experimented with sound.  In “Drum Fire” I have long lines and repetition, as the poem is fantasy and fact; narrative and historical (Native American); and repetitive: “Drumming, drum drum drumming” echoes as a beating drum throughout the four pages of this poem.

Most recently, I wrote a poem a little bit in Spanish, but mostly in English, because the character Señor Rodriguez speaks fluent English, but also reverts in conversation into his native language.  “Unos Zapatos para el Señor Rodriguez,” honors not only Señor Rodriguez, but his father too, who spoke mostly in Spanish.

Diane Sahms-Guarnieri with Poet Jack Veasey at Almost Uptown 2 9 12 014

GER: Your poems have been published in the small and electronic press. Share with us the importance of a poet publishing their work and going through the submission process with magazines.

DSG: I do not enjoy sending my poems out, but enjoy it immensely when they get published.  Every so often I put myself through the agony of sending them out.   Two reasons to torture yourself with sending poems out:

  1.  You need to get “Acknowledgments” for your books.
  2. You hope that you will have a broader audience reading your work, other than the usual suspects, whom tolerate and humor you.

I have discovered that many of the more prestigious magazines (and everyone knows who they are) seem to have “Guest Editors” that invite their own sorority sisters and/or fraternity brothers to be published in these magazines.  I really think (in some cases) that Submishmash is merely a tool to weed out the “unknown” poets from the “known” poets, and that submissions are read (if they are read at all), at best, by graduate students with strict instructions about what not to consider.  And let’s face it, if you’re not one of the “in” crowd members then you are either “deleted,” so not to contaminate their system or thrown into the recycle bin before the letter opener has had a chance to bite the envelope.   It appears that it’s always the same poets being published in these so called erudite magazines.  I believe many times it is who you know, rather than your work that is your ticket into the big-name magazines.

Thank God for Small Press, but Beware, because sometimes fly-by- night small press magazines only publish their school of poetry and are not eclectic.

Poet Diane Sahms-Guarnieri readsGER: There are few poets who make a living at the art of poetry. Stanley Kunitz once said poetry is the last uncorrupted art because there is no money in it. As a poet who works full time how do you strike a balance between working and your creative process?

DSG: I don’t!  It’s a constant internal battle.  The work week takes so much time out of your poetic life: 40+ hours (workweek), the added time getting to and fro, and preparing for it both mentally and physically. However, you have to devise workarounds and manage your time the best way that you can.  You never want to choke out your artistic spirit/creativity/ or the Muse by the bombardment of “work.”  Funny you ask because recently I wrote an “Untitled” poem about this dilemma, as I am constantly faced with the dissatisfaction of not having enough time to write, teetering at cliff’s edge.
Diane Sahms-Guarnieri1GER: You began reading your poetry in the 1990’s at the Summer Breeze Series of the Old Philadelphia Poetry Forum.  How did this initial experience help you as a poet and propel you to read at other venues?

DSG: Summer Breeze 1998? A little background might help here.

I started writing poems in 1997/8, after the overwhelming death of my father from emphysema.  My “brand new” poems were about my childhood; the “truth” about my father’s drinking problem and his suffocating death from emphysema.   For me, at that time, it was a huge risk to read not only the first poems that I had ever written, but to share sensitive subject matter.  You see, when I grew up in Roxborough, everyone knew my dad had a drinking problem, but it was accepted and never discussed, a denial-type and enabling environment.  So, it was an extremely difficult decision for me to share not only my poems, but to expose his alcoholism through my poetry, a taboo topic, which was never discussed openly in my extended family.

This leads me to Summer Breeze!  If you start out reading your sensitive poetry to an audience then you need to do it in an environment where you feel safe and accepted.   The following people encouraged me, gave me tips on reading, supported me in my grieving, and more importantly believed in me.  I cannot adequately thank them enough:  Facilitator: Martha Collins, Mike Cohen, Steve Delia, the late Mariam Fine Brown, Frances Faraker, Don Suplee, Richard Gingrinch, the late Dr. Bill Hetznecker, the late Bill Schackner, Barb and Sy Pearlmutter,  and the late Arthur Krasnow, … during summer of 1998.

Their encouragement helped to propel me to learn even more about literature, and was influential in my decision to enroll in Spring 1999, as an adult and mother of three, in post graduate work, as discussed above.  Other students and I screened poems as part of a Student Staff for Limited Editions magazine at CCP (under Dr. Jeffrey Lee) and Folio at HFU (under Dr. Thomas Lombardi).  I was published in these magazines, read at their yearly readings, and won several Judith Stark Poetry Prizes, including first prize, at CCP.  

After earning my teaching certification in 2003, I taught high school English for two years (Council Rock High School and Cheltenham High School) and had very little time to write, so I enrolled in Suppose an Eyes poetry workshop at Kelly Writers House, under the leadership of Pat Green and continued to grow as a poet. We read at Kelly Writers House once a year.  I also enrolled in workshops sponsored by Manayunk Art Center (MAC) with various workshop leaders (J.C. Todd, Paul Martin, and Marj Hahn) and a Mad Poets Society Workshop under the late Len Roberts.  I read at Mad Poets’ venues and events.

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In 2006, I set out on my own and hosted the Center City Poets’ Workshop for five years: its first location was at Voices and Vision Bookstore (the Bourse) and then at Borders, Center City.   For two years (2009 -11),  I hosted an Open Mic at the former Blue Ox, now renamed as the Hop Angel  in N.E. Philly.  Presently, I conduct the Tenth Muse Workshop, upon request, and have hosted two workshops this past year in Delaware and Northeast Philadelphia. I also co-host the Fox Chase Reading Series at the historic Ryerss Museum and Library in Fox Chase.

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GER: What current projects are you working on and what can we expect to see from Diane Sahms-Guarnieri in the near future? DSG:

I have submitted for publication my second manuscript, Night Sweat, which is written in four sections: Faces of the Moon over Philadelphia; Drum Fire; Under the Night Forever Falling; & Sunset.

My third manuscript is underway with an array of new focuses.

So far I have readings scheduled for Feb- July 2013.

Finally, I will continue to be the Poetry Editor of the eclectic and international Fox Chase Review; continue to co-host the Fox Chase Reading Series at Ryerss Museum and Library; and host an occasional Tenth Muse Workshop.

You can visit Diane Sahms-Guarnieri on the web at http://www.dianesahms-guarnieri.com/ or http://dianesahmsguarnieri.wordpress.com/

*photographs by g emil reutter

34th St Poets at Kelly Writers House on April 5th

The 34th Street Poets will read on April 5th at 5:30pm at Kelly Writers House, 38th and Locust Walk on the University of Pennsylvania campus. Founded in 1992, this group presents the work of Betti Kahn, Alyson Shore Adler, Deidra Greenleaf Allen, Sandra Chaff, Barbara Daniels and Cindy Savett.