Telling Our Stories: Narrative Forms in Poetry
In this class, we will learn to tell our stories in narrative poetry, exploring strategies to get started and keep the story going. We’ll read poets who know how to sustain narrative voices and rhythms, and we’ll try writing long poems, sequences, prose poems, and poetic forms that unexpectedly provoke narrative: anaphora/litany, duplex, Golden Shovel, paradelle, round, and others. Whether you're contemplating a voyage or already underway, this workshop will help you sustain wonder in your journey.
August 22: Scholarship Donation Day (Learn more.)
August 23: Member registration opens
August 30: General registration opens
Carolyne Wright's most recent books are Masquerade, a memoir in poetry (Lost Horse Press, 2021) and This Dream the World: New & Selected Poems (Lost Horse Press, 2017), whose title poem received a Pushcart Prize and appeared in The Best American Poetry 2009. She has nine earlier books and chapbooks of poetry; a ground-breaking anthology, Raising Lilly Ledbetter: Women Poets Occupy the Workspace (Lost Horse, 2015), which received ten Pushcart Prize nominations; and five award-winning volumes of poetry in translation from Spanish and Bengali—the latest of which is Map Traces, Blood Traces / Trazas de mapa, trazas de sangre (Mayapple Press, 2017), a bilingual sequence of poems by Seattle-based Chilean poet, Eugenia Toledo (Finalist for the 2018 Washington State Book Award in Poetry, and for the 2018 PEN Los Angeles Award in Translation). Carolyne has served as Visiting Poet and professor of Creative Writing at colleges and universities throughout the U.S., including Harvard, Radcliffe, Emory University and the University of Miami. She returned in 2005 to her home Seattle, where she teaches for Hugo House, the Whidbey Writers Workshop MFA Program (from 2005 until the program’s closure in 2016), and for national and international literary conferences and festivals. A Contributing Editor for the Pushcart Prizes, Carolyne lived in Chile and traveled in Brazil on a Fulbright Study Grant; she returned to Brazil in 2018 for an Instituto Sacatar artist's residency in Bahia. She has also received grants from the NEA, 4Culture, and Seattle's Office of Arts & Culture, among others. A Fulbright U.S. Scholar Award granted in 2020 and delayed by Covid-19 has taken her back to Salvador, Bahia, Brazil, for two months in mid-2022, and for another two months in 2023.