The Tiny & Intangible auction is back for another year! Once again, we’ll be raising money to benefit Friends of Writers.

Conference attendees can bid on “tiny things” (stuff) in a silent auction beginning July 13.

Anyone connected to the program (students, instructors, staff) can attend the live auction for “Intangible” things (getaways, services, etc.) will be auctioned live on Saturday, July 16 from 4:45 to 6:15 PDT.

The Hat Contest will also be returning, so be prepared with your virtual finery!

If you’re not attending the conference and would like a link to the auction, send an email to wallycampmfa at gmail [[email protected]]  by Friday, July 15. Put “Auction” in the subject line. Please include your real name, the year you graduated, and the genre you studied at Goddard or WWC (or other affiliation).

Poetry alum Megan Pinto was recently featured in Guernica. Read an excerpt of Pinto’s poem below:

A Poem is a Landscape of the Mind

It was the winter of my life. Afternoons,
I watched light fade
from the faces of brownstones. I took
long, aimless walks by the water. Each day
more leaves fell. The starkness
of trees nearing winter,
their sheer nakedness. . .

My friend calls to tell me about a neighbor
who cornered her in the stairwell.
She describes standing perfectly still.

The shape of the lake nearing dusk,
its symmetrical, man-made enclosures.

Rumi speaks of sorrow as a clearing
of leaves, making space for joy. But what
to do with rage? And in such a desolate
landscape?

 

Read the rest of this poem–and hear Pinto read it–here: https://www.guernicamag.com/a-poem-is-a-landscape-of-the-mind/

2013 fiction alum Adrienne G. Perry was recently featured at The Common. Read an excerpt of Perry’s conversation about her essay “Flashé Sur Moi” below:

Adrienne G. Perry on “Flashé Sur Moi”

“I’ve always wondered, since I was young, do I have to not be myself in order to be desirable, or to be desired? Maybe it was naivete but it totally baffled me, and disgusted me. I don’t think I understood at the time how people could take on personas in their acts of seduction, how that could be part of the fun for them. I didn’t have words for it at the time, but I think I was picking up on the male gaze and felt that it was so limiting for everyone involved. The way that I would see people manipulate their bodies and their faces, their intelligence—it’s always seemed like the real perversion to me. It’s something I’m troubling through in this essay.”

Listen to Perry’s conversation about “Flashé Sur Moi” via podcast here: https://www.thecommononline.org/podcast-adrienne-g-perry-on-flashe-sur-moi/

Fiction alum Fred Arroyo was recently featured in Waxwing. Read an excerpt of “Mar Adrento (Sea Within)” below:

Mar Adrento (Sea Within) 

I heard my father’s sea

in the azure waves of his name,

and remember its animals

in that last hour before

he left for work.

He lifted me up

on top of the refrigerator,

sat down, drank his coffee,

laced up his boots.

 

Hijo, you are riding on the shoulders of a seahorse.

 

Read the rest of this poem here: https://waxwingmag.org/items/issue27/10_Arroyo-Mar-Adrento-Sea-Within.php

2015 poetry alum Rose Auslander was recently featured in ALBA. Read an excerpt of “as the sky inhales” below:

& this great world turns
from us, as we turn

on each other, small as the young swans puffing themselves up too near
the turtle laying her eggs, fragile

as the sound of sirens fading, as all that blooms & dies outside my window,
I bury seeds

 

Read the rest of this poem here: http://www.ravennapress.com/alba/issue_37/auslander.html

2019 alum Cynthia Dewi Oka was recently featured in the Massachusetts Review. Read an excerpt of “Poet, Formerly Known as Activist, Formerly Known as Child Of God” below:

Poet, Formerly Known as Activist, Formerly Known as Child Of God

Having lost my faith, again, in the given of an indifferent, discoverable order wherein my injuries might be filed alphabetically, safe from tsunamis and termites in color-coded cardboard boxes labeled International Relations, American History, Political Economy, the High Priestess, so that they might emerge aromatic, lipsticked, the day I am, at last, called to the podium of the ultraviolet narrative that is the stranger’s literary citizenship in this country, which admires distillation, as in, here is my venti cup of suffering, but also complexity, as in, can you detect the floral notes in it;

having fled my home, again, the gossiping bamboos, ax with its face buried in a stump in the yard, the front steps flecked with cigarette ash and occasionally, cat piss—details that for a while kept the sweetness at bay, sweetness I did not have the webbing to hold and therefore resisted with my life, leaving me brittle, my head a cauldron tipping from side to side, saying, yes, yes, yes, yes, yes, in iron urgency—I was strict with it—determined to “channel my anger” as admonished by the nonprofit feminists, though relief would have been to waste it, to let scald in every direction…

 

Read this poem in its entirety here: https://massreview.org/sites/default/files/16_63.1Oka.pdf

2018 poetry alum Megan Pinto was recently featured in Plume. Read an excerpt of “Genesis” below:

Genesis

God made the world with his mouth.
He spoke, and the heavens appeared.

Imagine a room with no windows
or doors (Once, trapped on elevator in Paris,

 

far away from everyone who knew
my name, I was free

to be anyone. I spoke
and nothing appeared. . .).

 

Read the rest of this poem (as well as another) here: https://plumepoetry.com/the-anonymous-city-and-genesis/

 

2004 fiction alum Erin Stalcup was recently featured in Isele Magazine. Read an excerpt of “Anthony Bourdain” below:

Anthony Bourdain

At some point  we just admitted we didn’t know how to mourn. We, the de-ethnicized Americans. Jewish people know how to mourn. Mexican people know how to mourn. Indigenous people know how to mourn, within their individual tribal customs. But some of us have been here so long we forgot where we were from. A cultural framework shows you what to do, makes some decisions for you so you’re less at sea to process this thing that is impossible to process. They are gone. So. Wear black. Wear white. Sit shiva for seven days, forget about comfort, cover the mirrors, forget about appearance, that doesn’t matter now. Then stand up and go back to your life. Walk in jazz funeral processions, and the music will move from dirges to dance tunes. Chop up the body and feed it to the vultures. Bury the dead in a coffin shaped like something they loved in life, a rose or racecar or guitar. A year after their death, disinter the body and dance with it, dress it in new clothes, throw a parade, tell them all the news. Dismember, roast, and eat the dead. Kill a member of another tribe to satisfy your rage. Throw a shovelful of dirt on the coffin, each mourner. Take pictures of the embalmed body. Keep locks of hair. Leave the body with useful tools, your best jewelry, flowers, prepare them for the other side. Some communities still know what to do. But some of us lost loss, forgot.

The Irish Americans started inviting us to their merry wakes, their funerals. It helped. To celebrate their life joyfully, be intimate with the body, it worked for us to collectively remember why it was worth it to love them. Don’t cry, it will keep the soul here. Then to watch a public performance of mourning—that helped, too. We could watch a woman keen, and it made us feel more pity and sorrow than if we were to cry, and it purged us.

Maeve MacNamara—the most famous keener in the world—knew, though we didn’t, that the term catharsis was originally a medical term for the expelling of menstrual and reproductive fluids. What the body doesn’t need anymore, to restore balance. We all knew the term as the reason we turn to art, the reason seeing someone else play out a tragedy helps us with our own. When the keener straightens her shoulders, lets us see her tears, then walks away, we follow her out of that space.

So, we agreed upon consensual reverse colonization—Ireland didn’t impose their cultural customs on us, but they let us adopt them.

 

Read the rest of this story here: https://iselemagazine.com/2021/02/03/anthony-bourdain-erin-stalcup/

2021 fiction alum Koye Oyedeji was recently featured in AGNI. Read an excerpt of “The Last Train” below:

The Last Train

I could tell it was her, even from afar: the self-serviced closecropped hair, her zany leggings, and the neon Nike Flight windbreaker she always wore, no matter the season. And since Raven had no business being on campus, I gave it all a second look, knowing something was either off or about to go off. She looked wild. Like she was ready to kirk on someone, pacing up down the path like she had all this extra energy. Then Mr. K stepped out the school and saw her, and when she saw him, she mean-mugged him so bad I had an oh-shit moment: the whole time she’d been waiting on a teacher, and it kinda made sense it would be him. He ain’t stop or approach her or nothing though; acted like he ain’t even know her and walked the path across the lawn to where I was, with other students, waiting to catch the D2 bus to DuPont Circle. Clearly, he had nothing to say to her, which also kinda sorta made sense. She wasn’t even a student at the school anymore.

At the bus stop, students bounced off the fencing and fooled around dangerously close to the road, like hardheaded monsters— their mama and all them PSAs ain’t teach them nothing about nothing. Everyone shouting too—like they couldn’t hear themselves speak. A mash-up of fluorescent leggings, slides with mismatched socks, stonewashed denim jackets thrown over hoodies. We were an arts school, so we wore what we wanted, sans uniform in the name of self-expression and all that, forever pushing the limits, bending shit where it won’t break, driving the dean crazy with pants that hung too low and designer tears that revealed too much thigh. And we got out late because of our arts classes, so we were always hungry, an appetite for home, for the skate park, or to link up with friends who already had a two-hour head start. I was never pressed about it, I didn’t have anywhere to run to. My day ones were a geek squad, boys who’d set themselves up with a homework club, math, English, algebra. No thanks. I just wanted to write. And home was never the ideal place for that after school, because by the time I made it back northeast, my nana would have all these different chores waiting on me.

I watched Mr. K scan the bus stop, searching for any kids from his department. Students he had lectured, argued with, drilled the importance of writing into—show not tell; make it clever, cool, and meaningful. His words. He was pressed, too, about us acting accordingly in the communal parts of the school. We were not to comport ourselves like them thirsty Studio Tech kids, to be as showy as the vocal department, or as outwardly tormented as the theater kin. That was their bag. We were young writers. Hard workers who shunned the spotlight.

He brushed his pencil tie, locked eyes with me. I nodded and he nodded back. Then he did this thing he does, where he’d say your name to formally acknowledge you. Because he was British, though he’d want you to tell it how he saw it: Black British of Nigerian descent. But whatever, too many words. On the one hand, weren’t nothing African about the way he said “Malik,” all extra like, as if he was the host on Masterpiece Theater, but on the other hand, there was something distinctly African about his being, his belief in education, about having a pick-yourself-up attitude and dusting yourself off no matter what got the drop on you; something about the way he looked through you and judged what you could do, not who you were. He was against laziness, against too much pleasure. His whole thing was “Just listen to me and you’ll be okay.” I could deal most times, but sometimes that shit be annoying. Acting like immigrants have a monopoly on hard work or something. Go on with that mess.

 

Read the rest of this story here: https://agnionline.bu.edu/fiction/the-last-train/

2016 poetry alum Jill Klein was just featured in the Leon Literary Review. Read an excerpt of Klein’s poem below:

Ode to a List-Maker

You make fire
for the first time
and it’s like you tried to climb
out of the crib.
Burning up,
you check off
caroling
and sex.

You find the last sock
you were missing.
You’ve had
an orgasm.

Your pleasure is leisure
wear. Leisure is wearing pleasure
until it wears off. Check.

 

Read the rest of this poem here: http://leonliteraryreview.com/issue-14-jill-klein/