Rainier Writing Workshop

"I am impressed with the caliber, commitment, and generosity of the faculty. Their willingness to engage with us in and out of our classroom made this experience unlike any other I've had."

Director

STAN SANVEL RUBIN

"This is a small, very selective program for motivated and experienced adults. There are high standards, but no condescension. No enforcing an aesthetic as if it were the aesthetic. Instead, individual choices, individual challenges, individual achievement-all of which it's our job to support.  As a writer, I know writing is a way of being. There's a time for community, and a time for solitude. When we're together, sparks will fly, and there will be high spirits as well as intelligent conversation with people who care about writing. (Bring your passion to residency.) When you're working at home, you will have new voices, new skills, and a new vision working for you. The process matters as much as a credential. The purpose? What you make it."



Stan Sanvel Rubin served for over twenty years as Director of the Brockport Writers Forum and Videotape Library (SUNY), a multi-faceted literary arts program. He holds the SUNY Chancellor's Award for Excellence in Teaching. The Post-Confessionals, a collection of his interviews with contemporary American poets, was published by Associated University Presses.  Hidden Sequel, winner of the Barrow Street Book Award for 2005, was published in 2006.  He is the author of four other collections, Lost and Midnight, both from State Street Press, On the Coast, a chapbook (Pudding House, 2002), and Five Colors,  from CustomWords (WordTech, Cincinnati). His poems have appeared in such magazines as The Kenyon Review, Virginia Quarterly Review, Poetry Northwest, The Georgia Review, The Ohio Review, Alaska Quarterly Review, Chelsea, Iowa Review and several anthologies.  He was awarded a 2002 Constance J. Saltonstall Foundation Grant in poetry.  He regularly writes essay-reviews of contemporary poetry for the journal, Water-Stone.

Master Class in Poetry

LINDA BIERDS, Poetry

Linda Bierds conducts a Master Class in Poetry for the Rainier Writing Workshop. She is the author of seven volumes of poetry, most recently Flight: New and Selected Poems.  Of her work, Stanley Plumly has written, "The autobiography of her imagination would be only half as intense were the writing itself less beautiful and clear, less perfect to pitch."  Among her many awards are the PEN/West Poetry Prize and two National Endowment for the Arts grants, as well as fellowships from the Ingram Merrill, John Simon Guggenheim, and John D. and Catherine T. MacArthur foundations.  She teaches at the University of Washington.

Faculty

SUZANNE BERNE, Fiction 

“In my view, the best thing a workshop can provide is excitement.  By focusing on where a story is most original, most engaging—where it “burns the brightest,” as I heard someone say last summer—the workshop can locate ideas and scenes a writer may not have realized had so much potential.  It’s easy to lose faith in something you’re working on; in fact, losing faith in your own work may well be an essential part of writing well.  So part of the workshop’s job is to help you locate that spark, where your work is most alive, original, memorable.   And then send you on your way again.”

DAVID BIESPIEL, Poetry

“One of poetry’s capacities is to reveal a process of thinking. The imprint of a poet’s mind in his or her poems is one distinguishing factor, and that imprint is relayed through form and revealed through content. My understanding of poetry is that we make these kinds of formal decisions both consciously and unconsciously. If one decides to write a poem in free verse, that’s a catalyzing formal decision. The more you understand what those decisions are, how you arrived at your assumptions about them, and what their consequences are beforehand, then the more you will be able to master the formal demands that arise in your poems. Every time I teach a graduate course, the students begin wanting to focus on content. So fine, we focus on content. By the end, they’re dying to know more about form. They come to realize that focusing on form strengthens their capacities to reinvent their imaginative representations of experience.”

David Biespiel is the author of four books of poetry: Wild Civility, Pilgrims & Beggars, and Shattering Air. His most recent book of poems, The Book of Men and Women, was named among the Best Poetry of the year by the Poetry Foundation. His anthology, Long Journey: Contemporary Northwest Poets, received the William Stafford Memorial Award from the Pacific Northwest Booksellers Association. And his little book on creativity, Every Writer Has a Thousand Faces, based on his 2009 lecture at RWW, has sold out several editions. His regular column on poetry in The Oregonian is the longest-running newspaper column about poetry in the United States. Biespiel's honors are a Wallace Stegner Fellowship in poetry at Stanford University, a Lannan Fellowship, and a National Endowment Arts Fellowship in literature. In addition to being the founding director and writer-in-residence of the Attic Institute in Portland, Oregon, he has long been an adjunct at Oregon State University and serves as Visiting Writer at Wake Forest University during the fall terms. In 2010, he stepped down as the editor of Poetry Northwest, a magazine that revived the discussion of poetry and other arts, but he remains active as a contributor to POLITICO.

www.atticinstitute.com

MARY CLEARMAN BLEW, Fiction, nonfiction

Mary Clearman Blew grew up on a small ranch in Montana and is author of the acclaimed essay collection All But the Waltz; a memoir, Balsamroot; and the story of her aunt, Writing Her Own Life: Imogene Welch, Western Rural Schoolteacher. Her novel, Jackalope Dreams, published by University of Nebraska Press, won the Western Heritage Award. She has also published three books of short stories, most recently Sister Coyote (2001). In addition, she has edited two collections of Idaho essays: one on water, one on fire. Her own most recent book of essays is Bone Deep in Landscape (2001). Her stories have been reprinted in both the Best American and O'Henry collections. She was twice the recipient of the Pacific Northwest Booksellers Award, once in fiction and once in nonfiction. In 2004, she received the "Distinguished Achievement Award" from the Western Literature Association.  She teaches in the MFA program at the University of Idaho, and her latest memoir, This Is Not the Ivy League, is due out in the fall of 2011.

FLEDA BROWN, Poetry, Nonfiction

"I’ve taught many kinds of workshops—one-shot 3-hour sessions, weekend retreats, and semester-long creative writing classes. Sometimes students come into a workshop simply wanting a push, sometimes they need help finding their voices. Everyone talks about “finding a voice,” as if we all knew what this means. We don’t. I don’t. What I can do in a workshop is to help students allow themselves to be clumsy, foolish, and sometimes nuts in their writing, while loosely hanging onto the reins. What are the reins? I don’t know that, either, but we can figure it out by looking closely at the best work we can get our hands on. No one ever had a “voice” that came from nowhere. It develops partly from bouncing off other voices—the ones in the workshop, and the ones on the page. I dearly love being around when the bounce lands in new territory."

Fleda Brown is the author of six collections of poems, most recently Reunion, winner of the 2007 Felix Pollak Poetry Prize, published by the University of Wisconsin Press.   Driving with Dvorak, a memoir in essays, is published by the University of Nebraska Press.  Her poems have appeared in Poetry, Kenyon Review, Southern Poetry Review, American Poetry Review, The Georgia Review, and many other journals and anthologies, and they have been used as texts for several prizewinning musical compositions performed at Eastman School of Music, Yale University, and by the Pittsburgh New Music Ensemble. In 2004, she won the Ohio State Univ/ The Journal award for creative nonfiction. She has written on teaching poetry and on the craft of writing, and she is co-editor of Critical Essays on D.H. Lawrence (G.K. Hall). She holds a Ph.D. from the University of Arkansas and taught at the University of Delaware for 27 years, where she directed the Poets in the Schools program. She served as poet laureate of Delaware and now lives in Michigan.

www.fledabrown.com.

DAVID ALLAN CATES, Fiction

“My success in the publishing world is limited, but my success as a writer has been boundless.  Every book I have written has taken me on an adventure I would have thought impossible beforehand.  I am a middle-aged man, and there are fewer and fewer things I know.  But I know what it takes to write.  I know the fear; I know the dangers and demons; and I know the joy.  As a teacher, I try to help students understand this journey, and I try to help them live it as the adventure of their lifetime.”

David Allan Cates is the author of three novels, Hunger in America, a New York Times Notable Book, X Out of Wonderland, and Freeman Walker, both Montana Book Award Honor Books.  Cates is the winner of the 2010 Montana Arts Council's Artist Innovation Award in prose and his short story, "Rubber Boy," (Glimmer Train 70) is a distinguished story in Best American Short Stories, 2010. His stories have appeared in numerous literary magazines, and his travel articles in Outside Magazine and the New York Times Sophisticated Traveler.

Cates is the executive director of Missoula Medical Aid, which leads groups of medical professionals to provide public health and surgery services in Honduras.  In Missoula he works with the Missoula Writing Collaborative, teaching classes on short story writing in public high schools. For many years he worked as a fishing guide on the Smith River and raised cattle on his family farm in Wisconsin.

 http://www.davidallancates.com/

 http://www.missoulamedicalaid.net/

KEVIN CLARK, Poetry

“My success in the publishing world is limited, but my success as a writer has been boundless.  Every book I have written has taken me on an adventure I would have thought impossible beforehand.  I am a middle-aged man, and there are fewer and fewer things I know.  But I know what it takes to write.  I know the fear; I know the dangers and demons; and I know the joy.  As a teacher, I try to help students understand this journey, and I try to help them live it as the adventure of their lifetime.”

Kevin Clark’s textbook, The Mind's Eye: A Guide to Writing Poetry, was recently published by Longman.  Kevin’s book, Self-Portrait with Expletives, won the 2009 Pleiades Press book contest and is distributed by LSU Press. His first full-length collection of poetry, In the Evening of No Warning, was published by New Issues Press. His poems have appeared in numerous magazines and collections, including The Antioch Review, The Georgia Review, Gulf Coast, Ploughshares, Crazyhorse, and The Iowa Review. He also won the Angoff Award from The Literary Review for best contribution in a volume year. Clark has written essays about numerous contemporary American poets, including John Ashbery, Rita Dove, Sandra Gilbert, Sandra McPherson, Ruth Stone, and Charles Wright. His critical articles and reviews have appeared in many journals and collections, among them The Iowa Review, Papers on Language and Literature, The Southern Review, Contemporary Literary Criticism, The Georgia Review, and Poetry International. He was awarded the Distinguished Teaching Award at Cal Poly in San Luis Obispo, CA, where he teaches poetry writing and modern and contemporary American literature.  He lives in San Luis Obispo with his family.

http://www.kevinclarkpoet.com/

STEPHEN COREY, Nonfiction, Poetry

"I am an editor because I am a writer; I am a writer because at some point--I believe I was in my mid-twenties--simply taking in the world no longer seemed enough, and because I have crazy but loving dreams of whacking a few readers in the gut the way my favorite writers have whacked me. I try to edit via compassionate insinuation [from the Latin "insinuare": to introduce by windings and turnings], doing my best to enter the intention and spirit of a piece to determine how it might be finished more completely and accurately. But I also edit via compassionate fiat, because some things just don't work if you fail to handle them thoughtfully enough. In one sense, I suppose, there's what a good editor must strive to be: thoughtful enough. And, I would argue, good writers must be so as well. Once I sat at a dinner gathering of writers and said, 'For a piece of writing to be genuinely great, someone has to want to kill you for having written it.' This isn't true, of course, but I think it's next door to something that needs to be true."

Stephen Corey is the author of four full-length collections of poetry, the latest being There Is No Finished World (White Pine Press, 2003), and six chapbooks. His poems, essays, reviews, and articles have appeared in dozens of periodicals and anthologies, among them The American Poetry Review, The Southern Review, Shenandoah, The Kenyon Review, Yellow Silk, The Pushcart Prize: Best of the Small Presses, and The 'Poetry' Anthology, 1912-2002. He has co-edited three books in as many genres, most recently (with Warren Slesinger) Spreading the Word: Editors on Poetry (The Bench Press, 2001). He has worked as a literary editor for nearly thirty-five years, first with The Devil's Millhopper from 1976-1983, and since then with The Georgia Review, where he currently serves as editor. He lives in Athens, Georgia and serves as Editor-in-Residence in the MFA Program at PLU.

GARY FERGUSON, Nonfiction

Gary Ferguson first answered the call to adventure at age 12, loading up his purple sting-ray bike with camping gear and riding with his older brother through the central Midwest. By age 18, he made his way across North America by rail and by thumb. At 25, Ferguson plunged full-time into the freelance writing life.  He is the author of 16 books on nature, science and history, including The Great Divide: The Rocky Mountains in the American Mind, Decade of the Wolf: Returning the Wild to Yellowstone, and Hawks Rest (National Geographic), which became the first book to win nonfiction Book of The Year from both the Pacific Northwest and Mountains and Plains booksellers associations. His nature and science-based essays can be heard on National Public Radio affiliates throughout the country.  He is currently serving as the William Kittredge Distinguished Visiting Writer, University of Montana.

GREG GLAZNER, Poetry, Mixed-Genre, Criticism

"I love the reciprocal relationship between technical matters on the one hand, and subject matter on the other.  I’ve been focused for years on how the explosiveness of just being alive can call into question the aptness of one’s acquired technique.  Equally, I’ve been fascinated with how a technical revision—cutting a weak stanza, say, or letting the sound of a word dictate a next phrase that unmoors some of a poem’s original intended meaning—can sometimes result in vastly livlier subject matter.  I think that the most difficult and rewarding thing about being a writer is that we are forced to honor two opposite and essential necessities at once: the necessity to learn and master craft, and the necessity to be given over to a process that takes us beyond our conscious intentions into something more akin to dreaming.  I go to lengths to make sure that my workshops and mentor relationships honor this rich doubleness."

Greg Glazner is the author of two books of poetry, Singularity (W.W. Norton, 1997) and From the Iron Chair (1992), which was chosen by Charles Wright for the 1991 Walt Whitman Award. His chapbook, Walking Two Landscapes, was published in 1984. A recipient of the Bess Hokin Award, his poetry, fiction, and multi-genre work has appeared in Poetry, Ploughshares, The Colorado Review, The New England Review, Idaho Review, Seneca Review, and many other magazines.  He received a fellowship from the National Endowment for the Arts in 2005.   His multi-genre novel, Rag in a Loud Wind, is in the final stages of revision. He is a visiting writer at the University of California, Davis.

KEVIN GOODAN, Poetry

Kevin Goodan’s most recent book is Winter Tenor (Alice James Books, 2009). His first book, In the Ghost-House Acquainted, won a New England/New York Award from Alice James Books, as well as the 2005 L.L. Winship/PEN New England Award. His poems have been published in Ploughshares, Colorado Review, Crazyhorse, Mid-American Poetry Review, American Poet Magazine, Cutbank and other journals. Raised on the Flathead Indian Reservation in Western Montana, Goodan began working for the US Forest Service at a young age. He has lived in Northern Ireland and western Massachusetts. He received his MFA degree from the MFA Program for Poets & Writers at the University of Massachusetts Amherst, and his BA degree from the University of Montana. He has taught at the University of Connecticut and as Visiting Writer at Wesleyan University. He currently resides in Idaho and teaches at Lewis-Clark State College.

ADRIANNE HARUN, Fiction

"I don't believe there's any one route to writing good fiction and, sorrowfully, I also have come to believe that the magic book or teacher possessing the secret of fiction writing does not actually exist. I do, however, believe in the value of the twined practices of revision and obsessively close reading, as well as the great promise of intuitive leaps, emotional honesty and constant exploration. As a mentor, I ask a lot of questions, and I tend to prod my students also into asking questions of their own work. I'll also point writers toward other arts—music, architecture, visual arts—and other literary genres—mysteries, poetry, plays—when I feel a structural connection is in the offing or needs to be considered. My goal as a teacher is to act as an informed yet curious companion, sometimes guiding, always listening, as my students find their own paths."

Adrianne Harun is the author of The King of Limbo and Other Stories (Houghton Mifflin, 2002), a Sewanee Writers Series selection and a Washington State Book Award finalist. Her stories have garnered awards from the Chicago Tribune (Nelson Algren Award), Story Magazine, and other journals, and have been listed as Distinguished in Best American Mystery Stories and Best American Short Stories. Her fiction has also been anthologized, most recently in Looking Together: Writers on Art (University of Washington Press). In addition, for over twenty years, Adrianne has also worked on the editorial side of publishing. She is currently on the faculty of the Sewanee School of Letters at the University of the South. 

www.adrianneharun.com

LOLA HASKINS, Poetry

“Our students make this program what it is. They're smart, interesting people, and they support rather than undercut each other. Partly because of that, and partly because they're so open to their mentors, they tend to flower here and I love getting to watch. I have a   supremely lucky job. Working with writers to help them say as beautifully as possible what they came to say, rewards me well beyond what anyone could write on a check.”

Lola Haskins’ poems have appeared in The Atlantic, the London Review of Books, The New York Quarterly, Beloit Poetry Journal, Georgia Review, Southern Review, Prairie Schooner, and elsewhere. Her most recent collection is Still, the Mountain (Paper Kite, 2010). The Grace to Leave is coming from Anhinga Press in early 2012. 

Ms. Haskins' first book of nonfiction: Fifteen Florida Cemeteries: Strange Tales Unearthed  (University Press of Florida) is just out. Other prose writings include environmental essays, an illustrated book of fables about women, Solutions Beginning with A (Modernbook), and a poetry advice book: Not Feathers Yet: A Beginner's Guide to the Poetic Life (Backwaters).  Among her awards are the Iowa Poetry Prize, two NEA fellowships, four fellowships from the Florida Department of State, the Emily Dickinson Prize from Poetry Society of America, and narrative poetry prizes from The New England Review and Southern Poetry Review.  She retired in 2005 from teaching Computer Science at University of Florida in Gainesville

http://www.lolahaskins.com

JIM HEYNEN, Fiction, Poetry, Nonfiction

"For me, the greatest pleasure in teaching is spotting what is most promising in a poem, story, novel, or essay—and going from there.  Finding the possibilities in a piece of writing requires generous and attentive reading.  It is hard, empathic work but can be far more rewarding than starting with the critical scalpel and going flaw-hunting.  The flaws tend to dry up and flake off the page without much messy coercion if the reader and writer agree on what and where the real promise is.  One of my favorite metaphors I draw from the sport of curling: when teaching, I like to think of myself as the person with the broom clearing the way for another’s earnest intentions."

Jim Heynen: Best known for his short-short stories about “the boys,” Heynen has also published poems, novels, nonfiction, and short fiction. His stories about the boys have been featured often on National Public Radio's All Things Considered, as well as on radio in both Sweden and Denmark. Astronaut George Pinky Nelson took a taped collection of the stories for bedtime listening on his last space mission. The most recent collection of these stories, The Boys' House, was named Editors' Choice for Best Books of 2001 by The Bloomsbury Review, Newsday, and Booklist.  He lived for many years in the Northwest and received a Northwest Booksellers Award for one of his story collections. He has received National Endowment for the Arts Fellowships in both poetry and fiction and in 1978 was selected as for a US/UK Bicentennial Exchange Fellowship to England. He has published two YA novels with Henry Holt, and his novel, The Fall of ’99, is scheduled for February 2012 release from Milkweed Editions; a book of short-shorts, Ordinary Sins, is scheduled for 2013. Heynen lives in St. Paul, Minnesota. 

www.jimheynen.com

DAVID HUDDLE, Fiction, Poetry, Nonfiction

"Listening has become a philosophy for me as both a teacher and a writer.  I've become a better writer by way of paying more attention to  what my writing is trying to convey to me as I'm working on it.  I've become a better teacher by way of giving my students more "say" in the classroom.  As a reader, I'm often trying to help other writers discover their work's "truest" impulses.  And though I've been teaching for thirty-two years now, I still get chills when I read a terrific passage in a manuscript or when a member of a workshop speaks with illuminating generosity.  It's not that I don't have opinions that I'm eager to share--in recent years, I've even found myself pounding the table and surprising myself with the passion of my words, something I was far too cool to do in my first twenty-five years of teaching."

David Huddle is currently Distinguished Visiting Professor of Creative Writing at Hollins University. He taught for years at the University of Vermont and continues to teach at the Bread Loaf School of English. Huddle’s work has appeared in River & Sound Review, Esquire, Harper’s, The New Yorker, Poetry, Best American Short Stories, and The Georgia Review. His novel, The Story of a Million Years (Houghton Mifflin, 1999) was named a Distinguished Book of the Year by Esquire and a best Book of the Year by the Los Angeles Times Book Review. In 2012, LSU Press will publish his seventh poetry collection, Black Snake at the Family Reunion, and Tupelo Press will publish his third novel, Nothing Can Make Me Do This.

JUDITH KITCHEN, Nonfiction, Fiction, Criticism, (Poetry)

"I believe in passionate memory, remembered passion, and the long, slow, often lonely, labors of the writer. That said, I also believe in the joint effort that can result in inspired revision. My deepest interest is in how to shape material, how to discover the underlying issues and then find a structure to enhance them. In both fiction and nonfiction, I like to see where personal experience intersects with the imaginary (or the critical) way of thinking. I look forward to a freewheeling discussion where questions count more than answers."

Judith Kitchen recently edited (with Ted Kooser, former U. S. Poet Laureate) an anthology of bird poems: The Poets Guide to the Birds, Anhinga Press. She is the author of a novel, The House on Eccles Road, winner of the S. Mariella Gable Prize from Graywolf Press, two collections of essays, Distance and Direction (Coffeehouse Press) and Only the Dance (U. of South Carolina Press), as well as a critical study of William Stafford, Writing the World (Oregon State University Press). She is co-editor of two collections of short essays, In Short and In Brief (both W. W. Norton), and is the editor of a third collection, Short Takes: Brief Encounters with Contemporary Nonfiction. Her awards include an NEA fellowship in poetry, two Pushcart Prizes in nonfiction, and recognition as a distinguished teacher of adults. She has judged a number of national awards, including the Pushcart Prize for poetry, the Theodore Roethke Prize, the Anhinga Prize, the AWP Nonfiction Award, the Bellingham Review's Annie Dillard award for creative nonfiction, the Bush Foundation fellowships, and the Oregon Book Award. She is an Advisory and Contributing Editor for The Georgia Review where she regularly reviews poetry. A third collection of essays, Half in Shade, is forthcoming from Coffee House Press in 2012. In addition, Kitchen has the distinction of being called—by Newsday—the Evel Knievel of literature. 

www.judithkitchen.com

DINAH LENNEY, Nonfiction

“Pursue, keep up with, circle round and round your life… Know your own bone, gnaw at it, bury it, unearth it, and gnaw at it still.” So wrote Thoreau, and the words comfort and inspire, as they apply to craft, and to our personal themes whatever they are. Having trained as an actor, I’m interested in voice, and in strategies for mining memory and imagination to cultivate authentic performance on the page.”

Dinah Lenney is the author of Bigger than Life: A Murder, a Memoir, published by the University of Nebraska in Tobias Wolff's American Lives Series, and excerpted in The New York Times. She co-authored Acting for Young Actors (Watson-Guptill, with director Mary Lou Belli), and has taught acting for film and for musical theatre at colleges across the country. Dinah’s essays have appeared in Creative Nonfiction, Agni, the Kenyon Review Online, Water~Stone, and in The Los Angeles Times, where she occasionally writes for the Book Review. She currently teaches in the Master of Professional Writing program at the University of Southern California and in the Bennington Writing Seminars, where she earned her MFA. She lives in Los Angeles - just over the hill from Dodger Stadium -- with her husband and two children.

www.dinahlenney.com

REBECCA McCLANAHAN, Poetry

"In my workshops, I am not interested in “fixing” so-called flawed texts; fixing is the work of morticians. I am interested in helping writers discover what their drafts want to be when they grow up. How do we locate the essay hiding within the messay, the memoir stalled on a ME-more track, the poem trying to sing its way out of the journal’s pages? Our task as writers is not only to pay attention to our world but also to use the materials of the world in extraordinary ways. To do this, we must uncover the subtle design, the “figure in the carpet” that is woven into even the most everyday events. Often we must proceed without knowing what form the work will finally take. We write our way into the question, into the mystery. Writing begets more writing; meaning grows on the page."



Rebecca McClanahan’s most recent books are Deep Light: New and Selected Poems 1987-2007 and The Riddle Song and Other Rememberings, which won the 2005 Glasgow Award for nonfiction. She has also published four previous volumes of poetry and three books about the writing craft, including Word Painting: A Guide to Writing More Descriptively. Her work has appeared in The Best American Poetry, The Best American Essays, The Kenyon Review, Georgia Review, Boulevard and numerous anthologies, and her awards include the Wood prize from Poetry, a Pushcart Prize in fiction, and (twice) the Carter prize for the essay from Shenandoah.  She lives in North Carolina.

www.mcclanmuse.com

KENT MEYERS, Fiction, Nonfiction

"I’ve heard writers say that, to avoid influence, they never read fiction when they’re writing it. I, on the other hand, want to be influenced—by everything: the shadows on the sidewalk, the expression on a stranger’s passing face, the music from an open window and, yes, other writers. I want to borrow power and style and voice, use them to challenge and stretch me. If that influence is too strong in the first draft, by the time the novel or story has gone through several revisions, it will have subsumed all those influences, taken them in and become its own thing. The same ought to be true for a writing workshop. We should be influenced and challenged by all those other minds—and yet in the end, emerge with our own, unique voice, an amalgamation that isn’t an amalgamation at all."


"There's always one more thing you can read."
                                                         
"I think the greatest risk a writer can take may be writing in the first person, nonfiction voice—
                                                                  
in other words, in one's own voice."
                                                           
"I've never taken a creative writing class."
                                                           
"If you're going to write prose, write every day."
                                                           
"A writer finishes."                                                            
—from an online Interview with Catherine Tudor

Kent Meyers' third novel, Twisted Tree, was recently published by Houghton-Mifflin-Harcourt.  He is the author of two other novels (The River Warren and The Work of Wolves), a book of short stories (Light in the Crossing), and a collection of personal essays (The Witness of Combines).  Two of his books were listed as Notable Books of the year by The New York Times, and his work has been cited in Best American Short Stories and Best of the West.  Twisted Tree won both the Society of Midland Authors Award and the High Plains Literary Award for Best Novel of 2009 and is being translated for a 2011 French edition. The Work of Wolves received the Mountains and Plains Bookseller's Award and was listed as one of the best books of 2004 by The Christian Science Monitor.  A recipient of a fellowship from the National Endowment for the Arts, he has also received distinguished teaching awards from both the Faculty and Student Senates at Black Hills State University where he is Writer-in-Residence. He lives and works in Spearfish, South Dakota.

www.kentmeyersbooks.com

BRENDA MILLER, Nonfiction

"As both a writer and a teacher, I'm so interested in how we make authentic connections, especially in a world that has grown so busy and ‘digitized’ that such connections can be rare, fleeting, and absolutely stunning.  I look forward to being witness, cheerleader, mentor, and companion as you find your true voice in creative nonfiction.”



Brenda Miller is the author of Season of the Body (Sarabande Books, 2002) which was a finalist for the PEN American Center Book Award in Creative Nonfiction, and Blessing of the Animals (Eastern Washington University Press, 2009).  She has received five Pushcart Prizes, and her work has appeared in numerous literary journals, including Fourth Genre, Creative Nonfiction, The Sun, Utne Reader, The Georgia Review and Witness. She co-authored, with Suzanne Paola, the textbook Tell it Slant: Writing and Shaping Creative Nonfiction (McGraw-Hill, 2004), and she serves as Editor-in-Chief of the Bellingham Review.

www.brendamillerwriter.com

SCOTT NADELSON, Fiction

“As a writer, I am endlessly surprised and fascinated by the possibilities offered by narrative and by language; as a teacher, I try to get students excited about those possibilities by sharing my discoveries and encouraging them to make discoveries of their own. Above all, I try on a daily basis to remind myself and my students of the joy that literature can provide both reader and writer, the relief from a world that often suppresses joy, the pleasure of finding a way to communicate genuinely what it feels like to be human. What a wonderful way to spend one’s life, working day after day to create what Kafka’s called ‘the ax to break the frozen sea within us.’”

Scott Nadelson is the author of three story collections: Saving Stanley: The Brickman Stories (Hawthorne Books, 2004), winner of the Oregon Book Award for Short Fiction and the Great Lakes Colleges Association New Writers Award; The Cantor’s Daughter (Hawthorne Books, 2006), recipient of the Reform Judaism Fiction Prize; and Aftermath (Hawthorne Books, 2011). His stories and essays have appeared in Ploughshares, Glimmer Train, New England Review, Crazyhorse, Alaska Quarterly Review, and elsewhere. He lives in Salem, Oregon and teaches at Willamette University, where he holds the Hallie Brown Ford Chair in Writing.

scottnadelson.com

ANN PANCAKE, Fiction, Nonfiction

“My greatest commitment as both a writer and a teacher is to writing that originates in deep personal investment because I believe that only by writing from this place in ourselves do we produce real art. For this reason, I think the most valuable expertise I can bring to my students is not my education in literature, nor what I've learned about craft after practicing it for twenty years, although I'll bring those, too. It's my ability to listen: to students, as they describe their interests, backgrounds, and aspirations, and to their drafts, from their earliest conceptions to their final stages. Through this kind of close listening, I help students find their passions. I guide them towards discovering and developing their own authentic voices. And I teach them to identify and then realize their drafts' richest potential.”

Ann Pancake’s novel, Strange As This Weather Has Been, was published by Shoemaker & Hoard in Fall 2007, and was a New York Times Editor's Choice, winner of the 2007 Weatherford Award, and a finalist for the 2008 Orion Book Award. Her collection of short stories, Given Ground, won the 2000 Bakeless award and was published by the University Press of New England in 2001.  Other prizes she has received include a Whiting Award, an NEA Grant, a Pushcart Prize, the Glasgow Prize, the New Millennium Award for creative nonfiction, and creative writing fellowships from the states of Washington, West Virginia, and Pennsylvania. Her fiction and essays have appeared in journals and anthologies like Orion, The Georgia Review, Poets and Writers, and New Stories from the South. She holds a PHD in English Literature from the University of Washington.

 annpancake.blogspot.com

LIA PURPURA, Nonfiction, Poetry

“Just recently, when I read David Foster Wallace’s description of a phenomenon he calls “Total Noise” (“that seething static of every particular thing and experience, and one’s total freedom of infinite choice about what to choose to attend to and represent and connect, and how, and why, etc.”) I felt my role as a teacher clarify and firm up anew. I want to help my students settle and still their vision and fortify their own authentic responses to the Noise that daily threatens us to overwhelm us all. The bracing joy of receiving a real, live temperament/disposition/sensibility is what I long for (and fall for)  as a reader. As a mentor, I look forward to finding these moments in my students’ work, studying them, marveling at them – and then, working with them, in whatever way the poem or essay requires.”



Lia Purpura’s collection of poems, King Baby, won the 2007 Beatrice Hawley Award from Alice James Books. Her collection of essays, On Looking (Sarabande Books, 2006) was a finalist for the National Books Critics Circle Award. Increase (essays) won the Associated Writing Programs Award and was published by the University of Georgia Press in 2000. She is also the author of Stone Sky Lifting (winner of the Ohio State University Press Award in poetry, 2000), The Brighter the Veil (poems) and Poems of Grzegorz Musial: Berliner Tagebuch & Taste of Ash (translations). Her work has appeared in many magazines, including Agni, DoubleTake, The Georgia Review, Field, The Iowa Review, Orion, Parnassus:Poetry in Review, The Paris Review and elsewhere. She recently served as Visting Writer at The University of Iowa’s Nonfiction Program, and at MFA Programs at the University of Alabama and Bennington. Her awards include an NEA Fellowship, a Fulbright Fellowship and three Pushcart awards. She is Writer-in-Residence at Loyola University in Baltimore, MD.

www.liapurpura.com

MARJORIE SANDOR, Fiction, Nonfiction

“One day in college, my favorite teacher came to the limit of her patience with me. I had nearly suffocated a personal essay full of similes and metaphors and the word  "I."  She looked at my five drafts, handed them back and said, "You can do better than this. Just tell the truth.” The simple rightness of this struck me like a blow to the head, and still does: it is a model of great teaching. Of course I still commit, on a daily basis, the sins of over-decorating, of willful obscurity and unmediated anger and blindness to irony, but I know, thanks to her, that there is another way. And I try to follow her example as a teacher, too.

“The Italian writer Natalia Ginzburg once said she wanted to be "the recording angel" of her family. I like this idea, and even better, her example. Her sentences are laconic, unadorned, stripped down in language and tragic in historical context, but rich in compassion, humor, and irony. She regards her characters with an astonishing tenderness, from a little distance, as if she hovers just above the earth's surface, still part of its atmosphere, but not confined by its petty passions. Another great writer, Nadine Gordimer, says you must write as if you were already dead. I almost know what she means, and I will spend the rest of my life reaching to accomplish it, if only in a single sentence that bears witness to the beautiful failures we are bound, by our humanness, to create. I read for it, write toward it, and teach with it always in mind.”



Marjorie Sandor is the author of four books, including a new memoir, The Late Interiors: A Life Under Construction (Arcade/Skyhorse Publishing). Her linked story collection, Portrait of my Mother, Who Posed Nude in Wartime: Stories (Sarabande Books), won the 2004 National Jewish Book Award in Fiction, and a previous book of essays, The Night Gardener: A Search for Home (The Lyons Press), won the 2000 Oregon Book Award for Literary Nonfiction. Her work has appeared in Best American Short Stories, In Brief: Short Takes on the Personal, and the Pushcart Prize, and in such journals as the Georgia Review, AGNI, and TriQuarterly. She directs the MFA program in Creative Writing at Oregon State University in Corvallis.

www.marjoriesandor.com

PEGGY SHUMAKER, Poetry, Nonfiction

"Language is one way we make our way in the world. Our intensive sessions will involve writing new material for poems and working on drafts we've generated. We'll also practice reading as writers--looking at poems and prose to find tools we can adapt for our own uses. My own work comes from two deserts--the Sonoran desert of southern Arizona and the subarctic desert of Interior Alaska. Most of my poems depend on images and sounds to create their worlds. Right now I'm at work on a nonfiction book and a book of new poems."

Peggy Shumaker's books of poems include Underground Rivers (Red Hen Press), Wings Moist from the Other World and The Circle of Totems (Pitt), Braided River (Limner Press), and Esperanza's Hair (U. Alabama Press). Blaze, a poetry/painting collaboration with the Alaska artist Kes Woodward, was published in 2005 by Red Hen Press.  Her memoir, Just Breathe Normally, was published by the University of Nebraska Press in 2007.  Her essays have appeared in such journals as Prairie Schooner and Ascent.  She has won a poetry fellowship from the National Endowment for the Arts, and several awards for teaching. She is professor emerita from University of Alaska Fairbanks. Peggy Shumaker grew up in Tucson, and earned her BA and her MFA from University of Arizona.  She worked for years doing residencies for the Arizona Commission on the Arts, with prison inmates, honors students, gang members, deaf adults, teen parents, little kids and elderly folks. She has given readings in art galleries, a governor’s mansion, a clearing in the woods, an abandoned bank, on reservations, in libraries, at a gold dredge, under the hoodoos at Bryce Canyon, on a riverboat, and at many bookstores, community centers, and universities.

www.peggyshumaker.com

www.borealbooks.org

SHERRY SIMPSON, Nonfiction

"My favorite moment is when a writer who's struggling with a piece or a direction hears the right question and then realizes what to do next.  To me a workshop or mentorship doesn't involve 'teaching' or 'learning' so much as rediscovering what we already know but may have forgotten, overlooked, or masked.  I think we're all apprentices to our work, and the heart of this relationship lies in the way we choose to be in the world.  I want students to interrogate their experiences, trust their sensibilities, and open themselves to the possibilities revealed through their work and the work of others.  I hope they'll cultivate the narrative expanse of the draft and the beautiful discipline of revision.  I'm drawn by language yoked to purpose--language that rises from intonation and rhythm rather than words that rely on mere ornamentation.  I believe that facts offer us some of the most imaginative opportunities.  And is it so much to ask that all this thinking and exploring could be fun now and then?"



Sherry Simpson is the author of five books of nonfiction, most recently The Accidental Explorer: Wayfinding in Alaska. The Way Winter Comes: Alaska Stories, which won the inaugural Chinook Prize, has recently been reissued in paperback. A book on bears is forthcoming from the University Press of Kansas. She is currently an Associate Professor at the University of Alaska Anchorage. Her essays have appeared in In Fact, an anthology of the best of Creative Nonfiction (W. W. Norton), Alaska Quarterly Review, American Nature Writing, Orion, and Creative Nonfiction, among others. Her awards include the Andres Berger Nonfiction award by Northwest Writers, Inc., a Sierra Club Nature Writing Award, and numerous awards from the Alaska Press Club. She has been a Bakeless Nonfiction Scholar at the Bread Loaf Writers Conference, and she is on the faculty of the Kachemak Bay Writers' Conference.