The Lost Words – in Daily Good News that Inspires
by Jackie Morris, syndicated from dumbofeather.com in the Daily Good
It has been described as a ‘cultural phenomenon’ by The Guardian, but really it is just a book of spell-poems and paintings. Created as a response to the realisation that we humans were losing sight of the common species, the everyday names of wild things that share our earth, the book’s aim was to re-connect, re-focus, revitalise. As Robert said ‘we do not love what we cannot name, and what we do not love we will not save’. CONTINUE
A Viral List of Hundreds of Opportunities for Artists, Compiled by One Person to Encourage Community
By Sarah Rose Sharp in Hyperallergic
Everest Pipkin has made public their “Big Artist Opportunities List” — a collection of over 400 opportunities for artists across the globe.
With the overwhelming reality that artists are expected to somehow maintain a practice, store and ship work, support their scene, self-promote, manage open accounts with galleries — all generally on spec, at least starting out — plus do whatever it takes to pay their bills, who has the time or bandwidth to keep track of opportunities to further one’s practice?
In Literary Hub: By Mo Moulton on the Legendary Mutual Admiration Society
It began in a quiet sort of way, over hot cocoa and toasted marshmallows in a student room at Somerville College, Oxford. One evening in November 1912, some new friends, all first-year students, gathered “to read aloud our literary efforts and to receive and deliver criticism.” They brought stories, poems, essays, plays, and fables, and they received far more than merely criticism. In the firelight, over economical treats, they created a space in which they could grow beyond the limitations of Edwardian girlhood and become complex, creative adults with a radically capacious notion of what it might mean to be both human and female. CLICK HERE TO CONTINUE
One summer evening not long ago, on a rainy Brooklyn rooftop, a friend — a brilliant friend who studies the cosmos and writes uncommonly poetic novels — stunned me with an improbable, deceptively simple yet enormous question: “What does poetry do?”
I fumbled for Baldwin: “The poets [are] the only people who know the truth about us. Soldiers don’t. Statesmen don’t. Priests don’t. Union leaders don’t. Only poets.” And then I mumbled something about how poetry gives shape to our experiences through language, thus conferring validity and dignity upon them, enlarging our access to our own humanity. CLICK HERE TO CONTINUE
Write Here. Write Now.
Welcome to the Flatiron Writers Room – providing a brick & mortar hub for the Asheville writing community.
Located at 5 Covington Street in West Asheville’s vibrant Haywood Road corridor, the Flatiron Writers Room provides space for writers to learn, teach, read, celebrate and, of course, WRITE.
A few years ago I happily discovered Dada Maheshvarananda’s work, and later, when I read his book, After Capitalism, it was a further revelation. A broad and ambitious book, it sets out a comprehensive critique of the economic system that’s literally killing planet Earth as it distorts and destroys all life as we know it—call it the Death Ship. After Capitalism offers, as well, an alternative vision, a humane horizon we can begin to see through the soot and the smut, something to move toward as we engage the struggle against the Dark Angel. The book felt urgent when I first encountered it, and I gave it to friends and comrades everywhere. Its message is even more urgent today—the crisis deepens and the approaching catastrophe accelerates.
“Children need art and stories and poems and music as much as they need love and food and fresh air and play. “
Children need art and stories and poems and music as much as they need love and food and fresh air and play. If you don’t give a child food, the damage quickly becomes visible. If you don’t let a child have fresh air and play, the damage is also visible, but not so quickly. If you don’t give a child love, the damage might not be seen for some years, but it’s permanent.
Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”
We know you’ve heard the news that the East Asheville library is getting a new home. But with changes come questions, and we want you to have all the information possible during this time of transition. So, below is a list of frequently asked questions.
Publisher’s Weekly – February 26, 2018 – starred review
In this courageous, personal book, Peters, a Presbyterian minister and religious studies professor at Elon University, argues that abortion is used to shame women, control their bodies, and manipulate their choices.
Heather Newton’s novel Under the Mercy Trees, winner of the Thomas Wolfe Memorial Literary Award, is now available on audiobook from Dreamscape Media. Download it today on Libro.fm, Audible or your favorite audiobook platform.
Free Event, so you are welcome to join us even without a ticket but the RSVP is helpful for our planning.
And, if you need childcare, we ask that you register with the number and ages of children so that we are prepared to provide them with their best experience! CLICK HERE FOR MORE DETAILS
Serving writers in the Southeast and beyond since 1985
“The Writers’ Workshop is a community treasure that deserves to be nurtured and supported“ – John le Carre
THE THIRD SELF: Mary Oliver on Time, Concentration, the Artist’s Task, and the Central Commitment of the Creative Life
“The most regretful people on earth are those who felt the call to creative work, who felt their own creative power restive and uprising, and gave to it neither power nor time.”
“In the wholeheartedness of concentration,” the poet Jane Hirshfield wrote in her beautiful inquiry into the effortless effort of creativity, “world and self begin to cohere. With that state comes an enlarging: of what may be known, what may be felt, what may be done.” But concentration is indeed a difficult art, art’s art, and its difficulty lies in the constant conciliation of the dissonance between self and world — a difficulty hardly singular to the particular conditions of our time. Two hundred years before social media, the great French artist Eugène Delacroix lamented the necessary torment of avoiding social distractions in creative work; a century and a half later, Agnes Martin admonished aspiring artists to exercise discernment in the interruptions they allow, or else corrupt the mental, emotional, and spiritual privacy where inspiration arises.
When I opened the doors of Malaprop’s thirty years ago on June 1, 1982, the first people who walked in the door were a threesome–Marnie, Sandi, and Gretchen. My first customer was a gentleman. We talked for a while and he purchased the Selected Works of Herman Melville, the Random House edition.
Shining Rock is a mountain in Appalachian North Carolina; we choose it as a title for our anthology because of its metaphorical properties. As co-editors, we come to poetry with a strong commitment to the literary traditions that challenge readers to become continually educated by poetry.
Black Mountain College has attained near-myth status for the prominent roles it played in modern art, in the Beat poetry movement, and as a groundbreaking experiment in sociology. From its inception in 1933 until its closing in 1955, the college was populated by nonconformists and free thinkers.
Transforming Hate is a project comprised of folded origami cranes, photographs, installations, artist books, other image-text narratives, and workshops with local community organizations. In this work, historical elements are used as a framing device to construct the evolution of our shared identity… Origami cranes were folded from pages of white supremacist books.
- THINGS TO DO
- EVENTS CALENDAR
- WHO WE ARE
- BUSINESS DIRECTORY