The Sundress Academy for the Arts Workshop Series is proud to present “Dis/ability: A Writing Workshop.” Throughout history, disability has commonly been associated with restriction, pain, and fear. For many people, however, disabilities have also been a source of strength, empowerment, and creativity.
In this workshop, we’ll examine several pieces of writing that address disability from a variety of perspectives. Participants will have the opportunity to write in any genre, either to respond to one of the pieces or to generate original work around the topic.
Whether you are disabled yourself, have experienced a temporary disability in the past, care for someone with a disability, or simply want to deepen your empathy for people with physical, sensory, mental, or cognitive differences, this workshop will challenge you to think and write about the human body, its abilities, and its limitations in new ways.
The event will take place on Wednesday, September 9th, 2020, from 6:00-7:30 EST via Zoom. Join us at http://tiny.utk.edu/sundress with password safta.
This event is free and open to the public, although donations are encouraged via Venmo @Stacy-Estep or via Paypal (email@example.com). Thanks to the Tennessee Arts Commission for making this event possible.
Stacy Estep is a fiction and nonfiction writer whose work has appeared in Atticus Review, bluemilk, and California Quarterly, among others. She has a background in indie publishing, web content creation, and public relations. For her fiction, she has been awarded a writing residency at the Vermont Studio Center. She lives in Knoxville, Tennessee, with her artist husband and two cats.
Sundress Academy for the Arts Announces 2020 Summer Poetry Writing Retreat
The Sundress Academy for the Arts is thrilled to announce its Summer Poetry Writing Retreat, which runs from Friday, May 29th to Sunday, May 31st, 2020. The three-day, two-night camping retreat will be held at SAFTA’s own Firefly Farms in Knoxville, Tennessee. All SAFTA retreats focus on generative poetry writing, and this year’s poetry retreat will also include break-out sessions on: writing about writing the self; kicking writer’s block; publishing; and more.
A weekend pass includes one-on-one and group instruction, writing supplies, food, drinks, transportation to and from the airport, and all on-site amenities for $250. Tents, sleeping bags, and other camping equipment are available to rent for $25. Payment plans are available if you reserve by March 31, 2020.
The event will be open to writers of all backgrounds and provide an opportunity to work with many talented, published poets from around the country, including workshop leaders Amorak Huey and Hali F. Sofala-Jones.
Amorak Huey is author of the poetry collections Dad Jokes from Late in the Patriarchy (Sundress, forthcoming in 2021), Boom Box (Sundress, 2019), Seducing the Asparagus Queen (Cloudbank, 2018), and Ha Ha Ha Thump (Sundress, 2015), as well as the chapbooks The Insomniac Circus (Hyacinth Girl, 2014) and A Map of the Farm Three Miles from the End of Happy Hollow Road (Porkbelly, 2016). A 2017 NEA Fellowship recipient, he is co-author with W. Todd Kaneko of the textbook Poetry: A Writer’s Guide and Anthology (Bloomsbury, 2018) and teaches writing at Grand Valley State University in Michigan.
Hali F. Sofala-Jones is a Samoan American writer. Her debut poetry collection, Afakasi | Half-Caste, was published in March 2019 from Sundress Publications. She holds an MFA in Poetry from the University of Wisconsin, Madison and a Ph.D. in English from the University of Nebraska, Lincoln. Her poems appear in Nimrod International Journal, The Bitter Oleander, CALYX, Blue Mesa Review, The Missouri Review, and her poem “Fractured” was featured in the Academy of American Poets Poem-a-Day series in October 2019. She is the recipient of the Vreeland Prize in poetry, two Academy of American Poets prizes, a Pushcart Prize nomination, and several other honors and awards.
We have one full scholarship available for the retreat as well as limited 20% scholarships for those with financial need. To apply for a scholarship, send a packet of no more than (8) pages of poetry along with a brief statement on why you would like to attend this workshop to Erin Elizabeth Smith at firstname.lastname@example.org no later than March 15, 2020. Winners will be announced in early April.
The Sundress Academy for the Arts (SAFTA) is an artists’ residency that hosts workshops, retreats, and residencies for writers, actors, filmmakers, and visual artists. All are guided by experienced, professional instructors from a variety of creative disciplines who are dedicated to cultivating the arts in East Tennessee.
The Sundress Academy for the Arts is proud to present the next installment of their workshop series, “Finding an Appetite: Poetry Creative Nonfiction, and Food Writing.” This workshop will be led by Katie Culligan and will be held in Room 252 in the Hodges Library from 6 to 7 pm on October 28th. This event is free and open to the public.
Mark Twain said, “Part of the secret of success is to eat what you like and let the food fight it out inside.” When we begin to consider this active role that food plays in our lives and bodies, we must think about the senses, the land we live on, our families, both nuclear and national, and the labor-system-latticework we all must somehow live in the cracks of. In this workshop, we will investigate together how these considerations, and how food writing in general, can enrich your personal essays and poetry. If you’ve ever grown a mint plant in your kitchen, or waited a table, or eaten a hot dog that your mother cut up to look like an octopus, then you have enough to write about for the foreseeable future. Writers we read together will include those who specialize in both journalism and lyric nonfiction. We will not be reading Mark Twain.
Katie Culligan is a nonfiction writer living in Knoxville, TN, where she is the Fall 2019 Writer in Residence at Sundress Academy for the Arts. She is the recipient of the 2019 Eleanora Burke Award for Nonfiction and the Margaret Artley Woodruff Award for Creative Writing from the University of Tennessee. Recent work appears in Geometry, Noble/ Gas Qtrly, Columbia Journal, American Chordata, and others. She can be reached at katieculliganwriting.com
The Sundress Academy for the Arts (SAFTA) is an artists’ residency that hosts workshops, retreats, and residencies for writers, actors, filmmakers, and visual artists. All are guided by experienced, professional instructors from a variety of creative disciplines who are dedicated to cultivating the arts in East Tennessee.
In this workshop, participants will discuss how today’s poems try to shift our understanding of the world, write new poems using those techniques, and think about how through their use of perspective, question, repetition, and more, speakers of contemporary poems take their reaction to an event and turn it into proactive reflection on self and community. This workshop will ask: what is active when poetry comes alive to you, and how do we use those elements of poetry to help us become more alive to ourselves and others in the face of current events?
This workshop will focus on how in the wake of traumatic events or in the midst of national arguments, we turn to poetry. After the Pulse shooting in Orlando, Maggie Smith’s “Good Bones” was read online by millions. After the killings of black men and women by police, Jericho Brown’s “Bullet Points” is shared on social media again and again. In the last few years of national political strife, the National Endowment for the Arts says poetry readership is at an all-time high for the new millennium.
Jeremy Michael Reed is a PhD candidate in English and Creative Writing at the University of Tennessee. His poems are published in Still: The Journal, Stirring: A Literary Collection, Valparaiso Poetry Review, and elsewhere, including the anthology Bright Bones: Contemporary Montana Writing. He’s the editor-in-chief of Grist: A Journal of the Literary Arts, associate editor of Sundress Publications, co-director of The Only Tenn-I-See Reading Series, and assistant to Joy Harjo.
The Sundress Academy for the Arts (SAFTA) is an artists’ residency that hosts workshops, retreats and residencies for writers, actors, filmmakers, and visual arts. All are guided by experience, professional instructors from a variety of creative disciplines who are dedicated to cultivating the arts in East Tennessee.
Join us for an exciting writing workshop, “Form in Fiction: How to Use Form to Your Advantage,” which focuses on the ways we can use form to help generate new works of fiction with our own Katherine Bell. This workshop will run from 1PM to 4PM on Saturday, September 9th, 2017 at Firefly Farms, the home of the Sundress Academy for the Arts.
In this workshop, participants will look at a variety of formal short stories, including epistolary stories, fragmented or braided stories, and “unusual” point-of-view-driven stories, to see how the authors work within and beyond their chosen forms to craft successful and impactful short stories. Workshop participants will generate their own short stories inspired by the formal work we’ll encounter and share their work in a creative environment. We will use this workshop to create new work and celebrate the joy of creating while under constraint.
Katherine Bell is the current Writer-in-Residence at the Sundress Academy for the Arts in Knoxville, Tennessee. Originally from Frederick, Maryland, she earned her MFA from Eastern Washington University in 2017 and has been published in The Fem, Welter Literary Journal, Connotation Press, and others.
Tickets are $25 or $15 for students, and include instruction, snacks, and drinks.
Self-Authorship in the Writing Classroom: Helping Our Students Find Themselves
The world after college graduation—jobs, relationships, citizenship—demands a lot more from graduates than just knowledge and skills. Our students, if they’re going to thrive, are going to need some real self-awareness and the ability to make their own decisions. In order to get there, they’ll have to engage in a process of what psychologist Robert Kagan calls “self-authorship.” This means developing (in the words of education scholar Marcia Baxter Magolda) “the internal capacity to define one’s beliefs, identity, and social relations.” In other words, our students need to let go of the way that they’ve been defined by others and decide for themselves who they’re going to be in the world. Luckily, writing classes can be the perfect place for people to work toward becoming the authors of their lives, and teachers are in a great position to help.
When you were a student, did you have any academic experiences that were significant in your own process of self-authorship, by either hindering or spurring your efforts to define yourself?
David Ebenbach: In high school I took a creative writing class taught by a wonderful woman named Carole Nehez, and she did one of the most important things you can do for a person: she helped me find my voice. She helped her students in a number of different ways. First of all, she didn’t line us up in rows facing her at the front of the room; she put the chairs in a circle and we all sat in the circle together, which told us we all had important things to say, that we all could teach. Then, class conversations were free-wheeling and open and spontaneous, and she followed our lead when it was productive. One day, for example, it was raining outside and I asked her at the beginning of class if some of us could run around in the rain for a few minutes before settling into our chairs, and she let us do it. About half the class went, and we came back soaked and energized. But the most important thing was the writing, and particularly the journal writing. Mrs. Nehez required us to keep a journal, and encouraged us to write about anything and everything. She mandated a space for self-exploration. She said we had to do it, so we did.
Kathy Flann: The first experience I remember vividly related to writing and self-awareness is when I wrote a paper in high school about Julius Caesar, and the teacher accused me of plagiarizing it because it was so good. I was both insulted and flattered. I’d been going to Shakespeare plays with my parents since I was a child, and I’d had a lot of time to develop my own thoughts about them. I knew, from that accusation of being beyond my years, that I had come up with my own ideas. They weren’t canned. Even though it was a terrible experience, it was also an important moment. I often think of it when I teach. I remember how much one comment can affect someone.
West Moss: In one of my college lit classes, we were told to keep a journal of our thoughts about what we were reading. I met with my professor one day and he sat and read through my journal, quietly turning the pages. He hesitated and read something out loud to me that I had written. He said, “Is this YOUR idea?” I was confused and said that yes, it was. He got a tear in his eye and a big smile on his face. He sat forward and said, “West, what a brilliant insight.” I was eighteen and I burst into tears. It was as though someone had finally seen what I had suspected but had been unable to confirm until then: namely, that I had ideas that were worthwhile. This was a turning point in my sense of myself as a student and thinker, with ideas of my own to contribute to the larger discussion.
Joselyn Lewis: During the last semester of my senior year in college, I was writing a thesis as part of the graduation requirements in my major. The professor leading the thesis capstone seminar was a very established and respected faculty member in the department, someone I admired greatly and found to be an engaged and supportive educator, but also someone who intimidated me. I disagreed with his opinions at times, but struggled with confidence as to whether or not I had something of value to say and how to express my perspective to him. One day during a whole class discussion, while we were workshopping my classmate’s paper, I suggested that the main premise of her thesis was based on some mistaken cultural assumptions. When my professor supported my classmate’s position, the discussion turned into a direct debate with him and I realized I was very passionate about my take on the issues. I stood my ground and while he did not come around to my perspective, I left class shaking from having tried, but still convinced that I was right.
That afternoon, I had a scheduled check-in with my advisor where I relayed the events from class earlier in the day. He could hear the emotion in my voice and the importance of this argument to me. He did not tell me that he agreed with me or that he thought I was right, but for me, he did something even better. After he heard me out, the first thing he said was “Have you ever considered going to graduate school? I think you should.” Graduate school was actually not on my radar prior to that exchange, but my advisor’s reaction to me at that moment changed everything. I started seeing myself as someone who was capable of that level of academic work and as someone who had something to contribute. It was very significant.
How can writing—and particularly creative writing—help people on their journey toward self-authorship?
Kathy Flann: I think a creative writing workshop is the one place where students really do make their own decisions about the work they produce. Typically, faculty are most sincere in those classes about the carte blanche to make the work what they want it to be, and students sense that sincerity. They know the work is “real” in the sense that it could potentially be read by people just like them—fans of fiction. So they take the work of craft very seriously. They think of themselves as “real” writers in ways they may not in other disciplines.
Joselyn Lewis: I think writing can be supportive of our process of identity development and self-authorship in a number of ways. Writing can create space to slow down. That change in pace between writing and other ways we might communicate about ourselves and interact with others allows for a space that is more conducive to self-reflection and self-analysis. Also, writing, and perhaps creative writing in particular, requires an attention to voice in a way that often encourages the writer to work on finding their voice, recognizing and owning what kind of voice one has and how one wants to use it.
David Ebenbach: Some writing is direct self-authorship. For example, memoir and poetry can be places where you try to get a grip on your own story and make sense of it, and come to conclusions about it. It’s almost the same case with fiction and playwriting if it’s thinly veiled autobiography. But that’s just the obvious stuff. Even fiction that has no direct correspondence to your own life can spur the process of self-authorship. Maybe you drop a character into a moral conundrum and work them through it and, in so doing, discover how you feel about that situation; maybe you just can’t stop writing about loss (or connection, or faith, or struggle, or whatever it is); maybe you let characters do things you would never dare to do (or think you would never dare to do). In each case you learn something about what matters to you. Writing allows you to talk about the world, or a world, anyway, and then you learn—by comparison, by contrast—about your own world.
West Moss: I think I answer this below.
How can a teacher support the process of self-authorship?
Joselyn Lewis: From my experience, educators who are able to create intentional ways for students to connect academic material to their own lived experiences provide students with both powerful opportunities to further develop their own self-authorship and powerful learning experiences. Some faculty I work with do this by assigning writing assignments that explicitly ask students to bring themselves into conversation with course material—a faith autobiography for a religion class, or a weekly reflection journal, for example. The writing process is a supportive element as well as the sharing between student and teacher and what that sharing sets up in terms of the student feeling “seen” by the teacher. Another way to support the process of students’ self-authorship is to model or share experiences from our own trajectory toward self-authorship. It’s particularly helpful if teachers are willing to share some of the obstacles or difficulties in the process, so students can see the complexity, potential messiness, and non-linear nature of identity development and movement toward self-authorship.
Kathy Flann: What I do is spend the first 3-6 weeks, depending on the level of the student, assigning ungraded work. Every time the student says, “Did you like it? Did I do well on it?” I say “Do YOU like it?” I explain as many times as it takes that they’re not writing for me. I say, “If you don’t like your work, probably no one else will like it, either.” I use my own writing experiences as examples in class, so that they will understand that we are all writers. We are just at different points on our journeys. I love it the most when I sit side-by-side with students who’ve come to my office and I ask them questions, “What does this guy want? Does he have a job? What does he do? Who is his family? What did he do yesterday? Why?” etc. It’s fun to see the student grasp that the answers are there in the mind. I think they also see that they, the students, are the only ones with the answers to these questions. I can guide, but I can’t provide the answers.
David Ebenbach: I think teachers can help students grow into themselves in two ways: by making space for the process and by challenging them to engage. Like Carole Nehez, my high school creative writing teacher, you can set up the classroom and in-class time to bring out voices—sitting in a circle, using first names, letting students do a lot of the talking—and you can use exercises that invite exploration: discussions based around student perspectives and experiences, journal-writing, reflection papers, writing assignments that ask them to tell childhood stories. In terms of writing exercises, I like to start with emotionally easy stuff (e.g., write a detailed physical description of a place you associate with your childhood) and then move to more fraught prompts (e.g., write a scene in which someone you really don’t like does something unexpectedly nice).
In some classes, I build up to an assignment called “Write the story you’re not allowed to write,” which I first encountered as a sentence in a Janet Burroway textbook and which I’ve elaborated on quite a bit. Some of the options for the assignment: “Write a fictionalized version of some true events that you are not supposed to reveal to the world….Write about something that is taboo for you….Don’t pick what’s taboo for others—go for what makes you squirm….Write sympathetically from the point of view of a protagonist who makes you genuinely uncomfortable. This would be the kind of person that secretly on some level you can relate to or might even wish to be, even though officially you completely disapprove of this kind of person.” Nobody is required to do this assignment—I give them an alternative—but almost everybody chooses to do it, and usually they find that they’re discovering important things, surviving those discoveries, growing from those discoveries, and, on top of that, writing the most promising thing they’ve written all semester long.
West Moss: There are ways to make the classroom feel safe for students to share their ideas, and to discover what they think about the world. Certainly listening carefully and giving genuine supportive responses is key, but also pushing them to write about their own worlds is often fruitful. In creative writing classes, I often begin class with brief (2-3 minute) in-class writing exercises, where I ask them to write about things they’ve noticed that morning, or interactions from years ago that they still think about. When shared, these things help build a community within the classroom, but they can also show beginning CW students that their own lives provide rich material for writing.
I have an assignment called “The Lies Our Characters Tell.” We read a short story together, something very short like John Cheever’s “Reunion,” for example, and look at how a particular character is lying (often to themselves) about themselves. For instance, the father in that story says that he cares about his son, but his actions show that he doesn’t. These small moments of dishonesty in characters can be revelatory for students, and demonstrate the kinds of inner conflicts we want our characters to display.
Next, students make a list of the stories they told about themselves when they last met someone new. What clothes did they wear and what “story” were they trying to tell with those clothes? Were they trying to look sexy, athletic, wealthy? Did they want to look like they didn’t care in some way, while actually caring very deeply about what people thought of them? Could they see the inner-conflict inherent in some of their own choices? Then I ask them to write down some of the actual stories they tell about themselves. Do they lead with their summer in France, or do they lead with their most recent awful break-up? Do they find stories to tell that make it clear they come from money, or do they prefer to immediately disclose that they were adopted, and why?
Then they’re asked to reflect on what these clashes between who they really are and who they portray themselves to be tell them about themselves. Does it reveal that they want something they don’t feel they can have? Does it reveal their senses of inadequacy or mastery in some way? One’s sense of identity, and one’s own understanding of small, potent conflicts in their own world, are essential underpinnings of compelling writing, but perhaps also of being a full human being.
These kinds of insights lead to several good outcomes. First, beginning CW students often feel they have to rely on large conflicts (explosions, wars, the death of a protagonist) in order to build tension in their stories. These exercises show them the kinds of small tensions that are real and universal, and that will help them to build characters that their readers will care about. More importantly, though, they help students in their own awareness of “self,” which is a critical sense for writers to develop. These are the kinds of tools, too, that I like to think I am giving them to use in life in general…the skill of reflection, of “noticing,” and a sense that their lives, and ideas, are thrilling and complex and moving enough to be at the center of their writing, and of their consciousness.
David Ebenbach is the author of six books of fiction, poetry, and non-fiction, including, most recently, the poetry collection We Were the People Who Moved and the story collection Into the Wilderness. He is a Professor of the Practice in Creative Writing at Georgetown University’s Center for Jewish Civilization and the Center for New Designs in Learning and Scholarship.
Kathy Flann‘s short story collection, Get a Grip, won the George Garrett Award and was released by Texas Review Press. A previous collection, Smoky Ordinary, won the Serena McDonald Kennedy Award and was published by Snake Nation Press. For five years, she taught creative writing at the University of Cumbria in England, where she created mini-courses for the BBC’s Get Writing website and served on the board of the National Association of Writers in Education. She is an associate professor at Goucher College in Maryland.
Joselyn Lewis is an Associate Director for Inclusive Teaching and Learning Initiatives at Georgetown University’s Center for New Designs in Learning and Scholarship. She leads the Engelhard Project and the Doyle Faculty Fellowship Program, which promote curricular and pedagogical innovation on issues of well-being, diversity, and inclusive pedagogy.
West Moss teaches creative writing at William Paterson University and at Gotham in New York City. Her work has appeared in McSweeney’s, The New York Times, The Saturday Evening Post, Salon.com, Brevity, and elsewhere. Her collection of short stories, The Subway Stops at Bryant Park, was published by Leapfrog Press.
Saturday, June 27 1:00pm – 4:00pm Sundress Academy for the Arts 195 Tobby Hollow Ln, Knoxville, Tennessee 37931
“Soon, soon the flesh / The grave cave ate will be / At home on me.”
Sylvia Plath’s images in “Lady Lazarus” are haunting, but they are propelled into nightmare through her expert sense of sound and rhythm. Think about the last poem that pulled you beneath its rhythmic tide. Did it chime with beauty like Elizabeth Bishop’s lines in “At the Fishhouses”:
“It is like what we imagine knowledge to be: / dark, salt, clear, moving, utterly free”?
If you are wondering how to further develop the natural tempos and patterns in your poems to enhance your poems’ images and narrative, this innovative music-poetics workshop is for you.
To combat the old struggles of writing and counting metrical lines, you will learn fresh methods like sound mapping, beat-tuning, and creating nonce forms to follow the sound of your poems to their crescendos. These methods will boost sound play in both free verse and metrical poems.
If you have always wanted to incorporate slant rhyme or alliteration but it seems wooden, this workshop is for you. In this 3 hour course, we will explore contemporary poets’ rhythmic techniques and you will learn to create evolving and enlivening music within your poems. Bring a couple of drafts-in-progress (at any stage) to revise. We will also write at least one new sound-driven piece in workshop. In addition to personalized feedback from the instructor and a helpful list of further readings, there will be a discussion of where and how to place sensual, sound-driven poetry for publication.
Sandy Marchetti is the author of Confluence, a debut full-length poetry collection forthcoming from Sundress Publications, and holds an MFA in Creative Writing-Poetry from George Mason University. Eating Dog Press also published an illustrated edition of her essays and poetry, A Detail in the Landscape, and her first volume, The Canopy, won Midwest Writing Center’s Mississippi Valley Chapbook Contest. Her work appears in The Journal, Subtropics, The Hollins Critic, Sugar House Review, Mid-American Review, Thrush Poetry Journal, Green Mountains Review, South Dakota Review, Phoebe, and elsewhere. She currently works as a writing teacher and freelance creative manuscript editor in her hometown of Chicago.
Sundress Academy for the Arts is excited to present the “Words Aren’t Everything,” workshop, which will be directed by playwright Harrison Young! This workshop will be held from 1PM-3PM on Sunday, March 15th at Sundress Academy for the Arts’s Firefly Farms (195 Tobby Hollow Lane, Knoxville, TN).
Words are great, but not when they get in the way! This wonderful workshop is designed to teach participants how to utilize improvisation-techniques to isolate how structure and relationships allow them to better focus on their stories. Participants are encouraged to bring up to four pages of their latest material to review with the class. Each participant will work on their personal piece with the guidance and instruction of playwright Harrison Young.
Harrison Young is a Theatre graduate from the University of Tennessee. His produced writing includes Online Fighting (Featured by the Brick Theater, Peoples Improv Theater, Tennessee Stage Company, Wild Thyme Players, and Pandora’s Dream Productions), A Cocaine Comedy (Featured by the People’s Improv Theater and Tennessee Stage Company), and the Secret Disclosures series (Featured by the Treehouse Theater). His performing credits include world premieres like Michael’s Story (Performed with the Treehouse Theater), The Hungry Heart (Performed with the Carpetbag Theatre), and Hoppy’s Trunk (Performed with the Tennessee Stage Company). Young lives in New York City, where he is a house team member of the improv group Vice Cream.
Attendance at this workshop is limited, so secure your chance to work with a published playwright by reserving your spot today! You can do so at our website, HERE!
Sundress Academy for the Arts is holding a new writing workshop in February for both beginning and advanced writers. Hosted by Sundress Publications authors Sarah Ann Winn and M. Mack, “Monsterworks: Hybrid Genres and Revision” focuses on creatively revising unfinished work and promises to send participants home with more than a few Franken-pieces to be proud of.
The success of this workshop depends on how much “body” you bring to work with and how creative you are with slicing up your work and reinventing it! Besides bringing some writing in need of revision and re-imagining, the only requirements for this workshop is that participants bring a journal, pen, scissors, glue/tape. Creativity is also a plus, but if you lack that or lack pages of your own writing to work with, there will be plenty of spare parts to go around.
Sarah Ann Winn lives in Fairfax Virginia. Her poems have appeared or will appear in Bayou Magazine, [d]ecember, Massachusetts Review, Quarterly West, and RHINO among others. Her chapbook, Portage, is forthcoming from Sundress Publications this winter. Her life as a poet-free-range-librarian-workshop-leader is a hybrid work in progress.
M. Mack is a genderqueer poet, editor, and fiber artist in Virginia. Mack is the author of the chapbooks Traveling (Hyacinth Girl Press, 2015) and Imaginary Kansas (dancing girl press, 2015). Her work has appeared or is forthcoming in Fence, Gargoyle, Menacing Hedge, Finery, The Queer South (Sibling Rivalry Press, 2014), and elsewhere. Mack holds an MFA from George Mason University and is a founding co-editor of Gazing Grain Press, an explicitly inclusive feminist chapbook press. Theater of Parts is hir debut collection and will be released in 2016 from Sundress Publications.
This workshop is for writers of any genre or experience level who want to have fun with words and see their writing in a new light. Monsterworks will cost $25 to attend. Paying early is always recommended to reserve a spot, as they will start to fill up the closer it gets to the event. It will The workshop will be on Saturday, February 7, from 1PM – 4PM at Firefly Farms located at 195 Tobby Hollow Lane, Knoxville TN 37931.
OUTSpoken is a second-year program from the Sundress Academy for the Arts (SAFTA) that will take place in Summer 2015. Our goal is to create a platform for the LGBTQ+ community of Knoxville, Tennessee, and its surrounding areas to record and perform the experiences of sex- and gender-diverse individuals in the South.
Registration for the OUTSpoken workshop series is now open. On-site participants will be a part of three workshops over the course of three months in order to create, edit, and produce a piece of art to be performed during SAFTA’s OUTSpoken events in Summer 2015. Workshop attendees will work with professionals in performance, prose, and poetry to compose and tell their own stories.
Workshops will be held on January 17th, February 21st, and March 28th, 2015 and run from 1PM to 3PM at the Sundress Academy for the Arts. Cost for the workshop is $25 for one, $45 for two, or $60 for all three. (Participants who attend at least two on-site workshops will be eligible to perform their piece at the OUTSpoken events later in the year.) Scholarship applications are also available on our website.
As LGBTQ issues gain greater visibility, it is crucial that we explore the complexities of sex and gender diversity respectfully. That said, we realize that unity cannot and must not be silent, and that in order to create a meaningful dialogue, we must acknowledge and listen to the stories, experiences, grievances, arguments, and counterarguments of all sex- and gender-diverse persons.