Staff editor Jennifer Rohrbach has been published on FlashFiction.net. Read her awesome analysis here!
From March 31 to April 2, the conference for Associated Writers and Writing Programs was held in Los Angeles, California. AWP is a massive conference that joins editors, writers, teachers, and publishers, from students through veterans of the occupation. More than 12,000 people gather for over 550 readings and panels. Widener’s Creative Writing department was able to attend and brought four students along for the ride this year.
Before coming to AWP, I’d attended FUSE, a national conference for undergraduate student editors. That conference was quite different, and I knew it would be, because it was much smaller-scale and much more tailored specifically to student editors of literary journals. FUSE had also been held at Widener this past fall, so I didn’t even have to travel for that conference. For AWP, I literally crossed the county.
At AWP, there was a FUSE caucus for students both who had attended FUSE and who were interested in attending future FUSE forums. The caucus helped unite undergraduate student editors and students who had become old friends at this point. Undergraduate student editors interested in FUSE should check out their website here! Additionally, FUSE members took turns tabling in the book fair, a huge expo for creative writers. Though the conference was a business venture, being able to run a table made me feel like I was even more a part of AWP.
Though I knew AWP was going to be massive and with a lot more to do and see than FUSE, I was unprepared for the size of the book fair. That blew my mind. There had to be a thousand vendors packed into one room—literary journals, MFA programs, the literary journals of MFA programs and so on. There were big presses, like Tinhouse Books and Penguin Random House, and small presses, like Cactus Heart. The New York Times had a stand, as did the MLA. My favorite part of the conference had to be the massive bookfair. I spent hours in that room at a time.
While in the bookfair I got to discuss people’s literary journals, what people recommended, and how their programs differed than other places. I saw the moderator for a panel I’d attended about writing diverse characters. She and I struck up conversation, and I was able to follow up with her about what she’d discussed.
It was exciting to talk to people from other writing backgrounds as I explored the convention center. It was also wonderful to see so many writers in one place. As one Widener student noted, writers are such versatile and diverse people—you see all types.
Overall, this conference was larger than life. Besides being incredibly informative, it was also incredibly fun! If fellow student editors and writers are interested in attending, talk to your professors and see if there is a way. Next year, AWP will be in Washington, D. C., which is much closer to Widener than California, so you can bet we’ll be there again.
To learn more about AWP, check out their website here.
To read more in-depth about my AWP reflection, including some of the panels I attended and speakers I saw, click here.
Written by Kelsey Styles, ’17
I was first presented with the concept of censorship in my freshman year of high school with my English instructor’s overenthusiastic ‘celebration’ of Banned Books Week.
In the fourth week of class, I remember walking to my desk to the sound of Mrs. Burrows’ marker squeaking against the whiteboard as she feverishly wrote out the titles of five books: The Great Gatsby, 1984, Harry Potter and the Sorcerer’s Stone, To Kill a Mockingbird and Junie B. Jones. Upon turning around, she asked the class what these books had in common, a question met by a combination of blank stares.
She tried a second time. “What is this week a celebration of?” Once again, she received deafening silence in response. Shaking her head, she scrawled the word ‘censorship’ on the board and thus began a semester long unit centered on the theme of censorship throughout literature and history.
Perhaps due to my own ignorance, and in part due to my school system’s previous lack of focus on the topic, censorship in first-world countries was a new concept to me. I knew of course that it existed throughout the world in the form of government oppression for the purposes of assuring no anti-political media was being fed to the public or no irreligious ideas were being spread in conservative countries. I never imagined, however, that censorship was an issue in America—an issue that is very much a concern today.
The notion that a writer armed with nothing more than an idea and pen could serve as such as a powerful weapon is a curious one. What is it about the written word that so frightens us, compelling governments to implement laws banning the products of an author’s ambition—the compilation of ideas written on the backs of coffeehouse napkins, stories etched into journals with the hope that someday, those very stories would be “enough” to really touch someone in the way only words can. Perhaps this is the very reason literature intrigues so many people just as it repels others. Willingly exposing yourself to a literary work is somewhat of an unspoken consent in allowing another’s ideas to merge with your own. This silent revolution is one world leaders are hopelessly trying to extinguish—feeding words into the mouths of authors with the threat of reducing them to oblivion. Ironically, by limiting the idea authors can share, this threat is already implemented. It is essential for our writers to not fall into this trap—to continue penning their unfiltered ideas—and being willing to brace the criticism doubtlessly endured by all great art. Just as the tragic heroes, the protagonists of our favorite tales must go through hell and back to become victorious, and the brilliance behind these tales, the authors, must take just as difficult of a journey in making the choice between submission to the mainstream literature or the struggle of penning their true words. The takeaway? Write warily, pen with caution, and allow your true voice to resonate.
Written by Nav Kaur, ’18
Over spring break, I had the brilliant opportunity to travel to the English Lake District (please Google this place, it’s a fairytale land) to study Wordworth in his beloved Grasmere. I cannot stop gushing about my trip; it was life-changing in so many respects, and I’ll take as much time out of my day as you want to show you my pictures and tell you my stories. But one of the greatest things I got out of this trip as an English major was the opportunity to truly connect with an author, to really get to know William Wordsworth as a human being who wrote poetry.
Here I am holding a first edition 1798 Lyrical Ballads. Yeah, that’s what it felt like to hold that book. Even after learning in detail how to pick up, hold, and open a book of such value and age, I was terrified. The process is almost holy, but when completed, it was the most exhilarating feeling. I held the beginning of Romanticism, the beginning of Wordsworth; that book was so much more than just old pages to me.
That day continued with a long walk through the countryside, as we traced Wordsworth’s footsteps through Hawkshead, traveling the same route he walked to get to school. Simply existing in the space he existed in made me realize that Wordsworth was a real person who had a special adoration the natural world that surrounded him. What a surreal moment it was, to look out at the same mountains he looked at, to watch the sun fall through the afternoon just as he would have.
I could go on for days. How I touched the Goslar notebook, where The Prelude was born. How I held Wordsworth’s own copy of Paradise Lost, which was 100 years old when he owned it. How at least one person in our group cried everyday out of the intense emotion that comes with truly connecting with an author. How we ate dinner in Dove Cottage and read poems by candlelight. But these experiences are ones that have to be lived to be known. I know that traveling to England is not an option for everyone, but the ability to at once revere an author and know them as a person is absolutely possible for all lovers of literature. You can’t sit in a chair all day and expect to know who an author was. Before, during, and after reading, get out and live the literature you love. Trust me, you will be forever changed for the better.
Written by Emma Irving
To find out more about the Wordworth Trust and all the awesome programs they offer, visit: https://www.wordsworth.org.uk/home.html.
And, more importantly, fall in love with your own poetry. Forget what your English and Creative Writing professors have taught you. (I know they’re reading this, and I’m sorry, but do it.) Learn how to write for you.
Hi, me again. The obnoxious blogger who reminded you why Percy Shelley was still relevant. Today I’m reminding you why you should want to write poetry. Here’s the simple answer: it’s FUN.
Here’s the long answer:
Of course writing for classes and publication are different than what I’m talking about here, but remember that poetry should be an exploration. Play with form. Play with sound. Play with images. Poetry is great in its very few rules, and, when you are writing solely for your own enjoyment, those rules don’t exist at all.
I’m not talking about writing sappy love poems after you share a first kiss with someone—though absolutely write those too. I’m talking about putting one word after another just to see what happens. So many students seem to forget what makes poetry so exciting. It’s discovering what you can create with words and images. Poetry is fun because it’s short—you can write a poem in two minutes, if you must—but also because it’s so sound-oriented.
Play with words! Make them your own. You never have to show anyone. Play with rhyme scheme and meter. Do it on your own time. Don’t worry about your class assignments. It is so vital for writing majors to practice the art of writing for the sound of it. Listen to the way the words move. Feel the way they move you.
Let’s apply this to (of course), an old dead poet. My favorite. Langston Hughes.
In case you haven’t read it (though what English major hasn’t?), here it is.
The instructor said,
Go home and write
a page tonight.
And let that page come out of you—
Then, it will be true.
I wonder if it’s that simple?
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem
through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:
It’s not easy to know what is true for you or me
at twenty-two, my age. But I guess I’m what
I feel and see and hear, Harlem, I hear you:
hear you, hear me—we two—you, me, talk on this page.
(I hear New York too.) Me—who?
Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn’t make me NOT like
the same things other folks like who are other races.
So will my page be colored that I write?
Being me, it will not be white.
But it will be
a part of you, instructor.
You are white—
yet a part of me, as I am a part of you.
Sometimes perhaps you don’t want to be a part of me.
Nor do I often want to be a part of you.
But we are, that’s true!
As I learn from you,
I guess you learn from me—
although you’re older—and white—
and somewhat more free.
This is my page for English B.
Forgetting content for a minute—which is incredible in and of itself—let’s look at what makes this a fun read. The first amazing thing about this poem is how natural it sounds—it sounds like conscious thought. The second awesome thing is the rhyme scheme that totally is intentional but totally doesn’t sound intentional. Cool, right?
But writing polished poetry with an important message and cool internal rhyme and proper metre and all these other things does take time, and it can become more cumbersome. Less about the fun. So let’s look at another poem.
‘Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!
He took his vorpal sword in hand:
Long time the manxome foe he sought–
So rested he by the Tumtum tree,
And stood awhile in thought.
And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
‘And, has thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!’
He chortled in his joy.
‘Twas brillig and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
Lewis Carroll’s Jaberwocky is a great example of stretching language to find something new. Carroll is the only one to ever use some of these words, and the poem is fun to read.
Be brave; try new things. Push words around on a page. Speak out loud to yourself. Though something good may come of it, know that you can always write something else later. Poetry for a grade is good, but poetry for yourself, and for the enriching and benefiting of your own mind, can sometimes prove more fruitful in the long run. Remember that poetry shouldn’t be a chore, but something you want to pursue! Remember that you can write poetry for you!
That rhymed. Guess I’m a poet too!
Welcome back everyone! To kick off a new semester, we’ve launched Issue 15, which can be viewed here! These pieces truly are the best of the best…out of the dozens of submissions we received last semester, the 8 featured in this issue truly blew us away! Take this relaxing Sunday to read each piece in the issue and get inspired, because we are reading submissions for Issue 16 now through March 1st!
Continue to follow our team this semester by liking us on Facebook, following us on Twitter, and keeping up with the blog here. Best wishes for a successful and happy spring semester from everyone at the Blue Route!
Happy end of the semester everyone! From all of us here at the Blue Route, we hope you crushed your finals/final essays/projects, had safe travels home, and are ready to enjoy an awesomely relaxing winter break. Keep an eye out for our next issue launching in January…until then, HAPPY HOLIDAYS!!!!!!!