1: Skip to content 2: Skip to navigation

MFA in Creative Writing - Low Residency

Fleda Brown

Poetry, Nonfiction

Fleda Brown Profile
  • Personal


Fleda Brown’s The Woods Are On Fire: New & Selected Poems has been selected by Ted Kooser for his series from the University of Nebraska Press.  It will be out in spring 2017. She has nine previous collections of poems.  Her work has twice appeared in The Best American Poetry and has won a Pushcart Prize, the Felix Pollak Prize, the Philip Levine Prize, the Great Lakes Colleges New Writer’s Award, and has twice been a finalist for the National Poetry Series.  Her collection of essays, with Vermont Poet Laureate Sydney Lea, Growing Old in Poetry: Two Poets, Two Lives, came out in 2013 from Autumn House Books.  Her memoir, Driving With Dvorak, was published in 2010 by the University of Nebraska Press.  Her poems 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.  She has won the New Letters and the Ohio State Univ/ The Journal awards for creative nonfictionShe has also co-edited an anthology of Delaware writers and a collection of essays on D. H. Lawrence.  She is professor emerita at the University of Delaware, where she taught for 27 years and directed the Poets in the Schools program.  She was poet laureate of Delaware from 2001-07.  She now lives with her husband, Jerry Beasley, in Traverse City, Michigan, not far from their cottage on Intermediate Lake.

Mentor. Workshops and classes in poetry and nonfiction.

Statement: “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.”