Readings are recorded and shared with all who register.
Workshop Description
In this single-session workshop, we’ll explore the art of writing the self without falling into cliché, diary-entry confessionalism. Students will craft intentional self-portraits in poetry, distinguish between various personas, and discuss the ethics surrounding writing about people we know. We’ll engage in generative exercises, close readings, and workshop discussions to transform personal experience into powerful, surprising poetry.
About The Workshop Leader
Alexis Sears is the author of Out of Order, winner of the 2021 Donald Justice Poetry Prize and the Poetry by the Sea Book Award: Best Book of 2022. Her work appears in Best American Poetry, Poet Lore, Cortland Review, Cimarron Review, Subtropics, and elsewhere. She earned her MFA in poetry from the University of Wisconsin-Madison and her BA in Writing Seminars from Johns Hopkins University. She lives in Los Angeles.
Explore New Poetic Territory ~ Find New Meaning & Connections Using Found Poetry Techniques – A Workshop with Jennifer Mills Kerr
Break free from your usual poetic groove. Very often and without realizing it, poets slide into familiar language and images. In this workshop, Jennifer will guide you on how to restructure, remix, and recontextualize words from other texts in order to break into new poetic territory. This class is a creative kickstarter for all experience levels.
Bring at least three inspiring texts you’d like to explore to class–whether historical documents, novel passages, your favorite poems, or all of the above. Choosing your source materials prior to workshop will allow you to immediately jump into our writing sessions.
Workshop Leader: Jennifer Mills Kerr Date: Tuesday, February 10 Time: 6:00-8:00pm Eastern – Please check your local time. Duration: 2-hours Cost: $25 (sliding scale)
Jennifer Mills Kerr is an educator, poet, and writer who lives in Northern California. An East Coast native, she loves mild winters, anything Jane Austen, and the raucous coast of Sonoma County. Say hello at https://jennifermillskerr.carrd.co/
We make poems because poems are the best (sometimes the only) ways to express the things we feel and experience. And so often, those “things” we try to express don’t have words for them. Poetry helps us say the things that can’t be said otherwise. It puts abstract thoughts and ideas into a shareable form and allows other people to experience those ideas through them. In this generative workshop we’ll look at ways to take the abstract and give it form. You’ll come away with some starter poems to continue to work on, and strategies to create more.
About The Workshop Leader
Grant Clauser’s sixth poetry book is Temporary Shelters from Cornerstone Press. His poems have appeared in The American Poetry Review, Southern Review, Kenyon Review and other journals. He’s an editor for a news media company and teaches poetry at Rosemont College in Pennsylvania.
Mastering the Epistolary Poem A Workshop with John Sibley Williams
Instructor: John Sibley Williams Date: Monday, January 26 Time: 11:30am-2:00pm PT / 2:30-5:00pm ET Please check local times. Duration: 2.5 hours Cost: $25 (sliding scale)
Please note: This workshop will be recorded for those unable to attend in real time. The recording will only be distributed to those who sign up for workshop in advance.
Epistolary poems, from the Latin “epistula” for “letter,” are, quite literally, poems that read as letters. As poems of direct address, they can be intimate and colloquial or formal and measured. The subject matter can range from philosophical investigation to a declaration of love to a list of errands, and epistles can take any form, from heroic couplets to free verse. In this intensive generative workshop, we will explore the many facets of writing “letter poems” through poetry analysis, active discussion, and a progressively challenging set of 6 writing activities that touch upon both our internal/personal worlds and how we interact with the larger world around us. We will study diverse poems from classic poets such as William Carlos Williams and Langston Hughes and contemporary poets such as Victoria Chang, Rebecca Lindenberg, Mai Der Vang, Rachel Eliza Griffiths, and Melissa Stein to see how they successfully explore relationships, internal reflection, political/cultural struggle, and landscape details by using the direct, evocative form of “letter poetry”.
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About The Workshop Leader:
John Sibley Williams is the author of nine poetry collections, including Scale Model of a Country at Dawn (Cider Press Review Poetry Award), The Drowning House (Elixir Press Poetry Award), As One Fire Consumes Another (Orison Poetry Prize), Skin Memory (Backwaters Prize, University of Nebraska Press), skycrape (WaterSedge Poetry Chapbook Contest), and Summon (JuxtaProse Chapbook Prize). His book Sky Burial: New & Selected Poems is forthcoming in translation from by the Portuguese press do lado esquerdo. A thirty-five-time Pushcart nominee, John serves as editor of The Inflectionist Review, Poetry Editor at Kelson Books, and founder of the Caesura Poetry Workshop series. Previous publishing credits include Best American Poetry, Yale Review, Verse Daily, North American Review, Prairie Schooner, and TriQuarterly.
For more information about John and his offerings:
Aging does not mean becoming invisible. It is a transition with its own pain and gorgeousness. By letting poems surprise us, without censoring, we will listen to our aging bodies and speak to them.
About The Workshop Leader:
Amy Small-McKinneyis a Montgomery County PA Poet Laureate Emeritus. She is the author of six poetry books, including three full-length books and three chapbooks. & You Think It Ends (Glass Lyre Press), her newest full-length book, was released in March 2025. Her poems have appeared in numerous journals, including American Poetry Review, Pedestal Magazine, Tahoma Review and Verse Daily, among others. She has contributed to many anthologies, for example, Rumors, Secrets, & Lies: Poems about Pregnancy, Abortion, & Choice (Anhinga Press, 2022) and 101 Jewish Poems for the Third Millennium (Ashland Poetry Press). Her poems have also been translated into Korean and Romanian.
In this workshop, we will look at poems through the lens of Adam Zagajewski’s seminal poem, Try to Praise the Mutilated World, as well as poems in a similar vein. We’ll consider poets such as WS Merwin, Wendell Berry, and Danusha Lameris. Poets will be invited to reflect on words that aim to help us carry the weight of life in tumultuous times and then write our own words in conversation with these voices.
~ About The Workshop Leader ~
Donna Hilbert’s latest book is Enormous Blue Umbrella, Moon Tide Press, 2025. Work has appeared in journals and broadcasts including Eclectica, Gyroscope, Rattle, Sheila Na Gig, ONE ART, Cholla Needles, TSPoetry, VerseDaily, Vox Populi, The Writer’s Almanac, anthologies including Boomer Girls, The Widows’ Handbook, The Poetry of Presence I & II, The Path to Kindness, The Wonder of Small Things, Love Is For All Of Us, What the House Knows, Poetry Goes The Movies. She writes and leads workshops from her home base in Long Beach, California.
With over 800 books per day published in the US alone, publicity for small press books has never been more necessary…and more difficult. The goal of “Visibility and Book Sales: Marketing Your Small Press Book” is to provide writers of all genres with the necessary tools, money saving techniques, and networking skills to market their books with maximum effectiveness. Topics include creating a cohesive business strategy, utilizing traditional and digital media, giving readings and other methods of selling books, balancing your marketing budget, and thinking outside the box to find your fans.
About The Workshop Leader
John Sibley Williams is the author of nine poetry collections, including Scale Model of a Country at Dawn (Cider Press Review Poetry Award), The Drowning House (Elixir Press Poetry Award), As One Fire Consumes Another (Orison Poetry Prize), Skin Memory (Backwaters Prize, University of Nebraska Press), skycrape (WaterSedge Poetry Chapbook Contest), and Summon (JuxtaProse Chapbook Prize). His book Sky Burial: New & Selected Poems is forthcoming in translation from by the Portuguese press do lado esquerdo. A thirty-five-time Pushcart nominee, John serves as editor of The Inflectionist Review, Poetry Editor at Kelson Books, and founder of the Caesura Poetry Workshop series. Previous publishing credits include Best American Poetry, Yale Review, Verse Daily, North American Review, Prairie Schooner, and TriQuarterly.
Please Note: This is a four-week workshop Virtual workshop meetings via Zoom
Dates: August 5, 12, 19, and 26 (Tuesdays)
Time: 6:00-8:00pm Eastern
Standard Price: $100 Economic Hardship: $75
Please note: This workshop is being rescheduled. Most likely for Winter 2025/26
Workshop Description:
Jump to the next level in your writing! Often we stop ourselves from exploring our material before we even confront it. Some of us may hold misconceptions about resolutions and endings or how to lean into narrative leaps. Together, we will practice slowing down our pace, spreading out, sustaining our concentration as we carpet our poems to fill the space of an entire room. We’ll read examples of hundred-line poems, including poem cycles, sequences, centos, and narratives, written by poets such as Walt Whitman, Octavio Paz, Larry Levis, Frank O’Hara, Diane Suess, Marilyn Chin, Martha Silano, Terrance Hayes, Peter Gizzi, Erin Murphy, and Jorie Graham. We will try out techniques such as accordion-style writing, parallel constructions, chiasmus, and repetition in the work of the poems we’ve discussed. The takeaway is your creation of a hundred-line draft. Those who are willing will have the opportunity to share these drafts in a nurturing environment.
About The Workshop Instructor:
Prize winning poet and writer Harriet Levin is the author of three poetry collections, The Christmas Show (Beacon Press, 1997), Girl in Cap and Gown (Mammoth Books, 2010), and My Oceanography (CavanKerry, 2018). Eavan Boland selected her debut book for the Barnard New Women Poets Prize. She is also the winner of The Poetry Society of America’s Alice Fay di Castagnola Award, a PEW Fellowship in the Arts Discipline Award, The Grolier’s Ellen LaForge Memorial Poetry Prize and Nimrod International’s Pablo Neruda Award. Her writing has appeared widely in journals such as The Academy of American Poets Poem-A-Day, Narrative Magazine, Ploughshares, The Forward, Prairie Schooner, The Smart Set, The Harvard Review, The Iowa Review, Denver Quarterly Review, Plume, ONE ART, and The Kenyon Review. She’s held poetry residencies at Yaddo, The Virginia Center for the Arts and the Vermont Studio Center. Levin is also the author of a novel, How Fast Can You Run, a novel based on the life of “Lost Boy” of Sudan Michael Majok Kuch (Harvard Square Editions, 2016), which came out of a project she founded with her students at Drexel University to reunite Lost Boys and Girls of Sudan with their mothers living abroad. How Fast Can You Run was excerpted in The Kenyon Review and profiled on NPR. Charter for Compassion chose How Fast Can You Run for its 2016 Global Read. She holds an MFA from the University of Iowa and has taught creative writing in both the undergraduate and MFA Program at Drexel University. In collaboration with PEN Haiti, she led a Drexel study abroad creative writing intensive to Port-au-Prince, from 2013-2018 for which the Philadelphia Haitian Coalition honored her with a Haiti Cultural Ambassador Award.
Practices of Assembly: Compiling Your Poetry Manuscript
Workshop: Practices of Assembly: Compiling Your Poetry Manuscript Instructor: John Sibley Williams Date: Thursday, June 5 Time: 12:00-2:00pm Pacific (3:00-5:00pm Eastern)
Are you interested in organizing a chapbook or poetry manuscript? This intensive manuscript workshop will teach participants different ways one can begin to compile a poetry manuscript. Expect to view manuscript samples and discuss techniques that can be applied to the process.
We will explore all the ins-and-outs of organization and publishing a chapbook or full-length, from writing toward a given theme to setting and keeping to creative deadlines to learning how to submit smarter, not harder. Poets will be guided through a series of lessons and hands-on activities that each focus on a different aspect of creating, structuring, and finally publishing a new collection.
Topics include selecting the best title, focusing on your first and last pieces, finding the thematic threads in your writing, organizing the entire collection so that it reads smoothly, deciding which structure works best for you, and submitting individual pieces to magazines and the book as a whole to publishers and contests.
Learn how to:
Set writing goals and make creative action plans
Make your work stand out
Get more acceptances…and faster
Submit smarter, not harder, to both journals and presses
Discover the thematic threads in your writing and how to weave them across a collection
Reshape previous poems to fit the themes and style of your collection
Order poems within a manuscript for cohesion and flow
Write powerful introductory and closing poems for your collection
Choose the right book title, poem titles, and epigraphs
About The Workshop Leader:
John Sibley Williams is the author of nine poetry collections, including Scale Model of a Country at Dawn (Cider Press Review Poetry Award), The Drowning House (Elixir Press Poetry Award), As One Fire Consumes Another (Orison Poetry Prize), Skin Memory (Backwaters Prize, University of Nebraska Press), skycrape (WaterSedge Poetry Chapbook Contest), and Summon (JuxtaProse Chapbook Prize). His book Sky Burial: New & Selected Poems isforthcoming in translation from by the Portuguese press do lado esquerdo. A thirty-five-time Pushcart nominee, John serves as editor of The Inflectionist Review, Poetry Editor at Kelson Books, andfounder of the Caesura Poetry Workshop series. Previous publishing credits include Best American Poetry, Yale Review, Verse Daily, North American Review, Prairie Schooner, and TriQuarterly.
Please contact Mark Danowsky, Editor-in-Chief of ONE ART, with any questions and to confirm registration.
Contact: oneartpoetry@gmail.com
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Workshop Description:
One reviewer said of Kim Addonizio’s work that not a word was unnecessary or out of place. How do poets write poems where every word feels essential? In this workshop, we will look at poets such as Addonizio, Hayes, Oxenhandler, Myles as examples. Then, we will generate some writing and edit it down without mercy. Participants will be challenged to both say the unsayable, and then murder many of their darlings* until their poems are trimmed down to the most surprising, essential language. (*no darlings will actually be harmed in the writing of these poems.)
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About The Instructor:
Tresha Faye Haefner is an award-winning poet, performer, educator and general facilitator of the fun times. Her work has been widely published and garnered several awards, including the Robert and Adele Schiff Poetry Prize, and the Pangea Prize. Her first book, When the Moon Had Antlers (Pine Row Press, 2024) was a finalist for the Glass Lyre Poetry Prize. She is best described as an eco-poet, travel-poet, and performance poet. She writes words for the stage, page, coffee shop, words for sitting under a tree alone, and words for reading to someone you love while rowing them down a river towards dawn.
In addition to writing her own poems about nature and other mysteries, her most important role is to help others feel safe and inspired to write work of their own. Most importantly, she is founder of The Poetry Salon, an online learning community where poets meet to share inspiration, education and support as they write together and cheer one another on! You can get new information, updates and invitations to events at The Poetry Salon by joining The Poetry Salon on Substack at ThePoetrySalonStack.Substack.com.
“Redemption depends on the tiny fissure in continuous catastrophe.” – Walter Benjamin
“I have woven a parachute out of everything broken.” – William Stafford
“In the dark times Will there also be singing? Yes, there will also be singing. About the dark times.” – Bertolt Brecht
About his own work, Stanley Kunitz has said: “The poem comes in the form of a blessing— ‘like rapture breaking on the mind,’ as I tried to phrase it in my youth. Through the years, I have found this gift of poetry to be life-sustaining, life-enhancing, and absolutely unpredictable. Does one live, therefore, for the sake of poetry? No, the reverse is true: poetry is for the sake of the life.”
“As more and more of contemporary life is forced into the present moment, there seem to be fewer mechanisms which allow the past to be fully absorbed and lived once it has happened. It has become harder to experience grief since it is a retroactive emotion which requires subsequent returns to the loss over a period of time. Only through such returns may one hope for the very real gain of transforming losses of various kinds into meaningful contributions to our own becoming . . . . Here I am speaking not only of the loss one experiences in the death of a loved one, but also of those diminishments of being which become known gradually, as when child or parent or lover discovers piecemeal the signs of neglect and lost trust. Poems have long been a place where one count on being able to feel, in a bodily sense, our connection to loss. I say bodily to emphasize the way poems act not only upon the mind and spirit, but also upon the emotions which release the bodily signs of feeling—so that we weep, laugh, are brought to anger, feel loneliness, or the comfort of companionship . . . .” – Tess Gallagher from “The Poem as a Reservoir for Grief” The American Poetry Review
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About The Workshop Instructor
Donna Hilbert’s latest book is Enormous Blue Umbrella from Moon Tide Press, following Threnody, Moon Tide, 2022. A second edition of Gravity: New & Selected Poems is forthcoming from Moon Tide in early 2025.Work has appeared in numerous journals and broadcasts including Cultural Daily, Gyroscope, Rattle, Sheila Na Gig, ONE ART, Vox Populi, The Writer’s Almanac, Lyric Life, and anthologies including The Poetry of Presence volumes I & II, The Path to Kindness, The Wonder of Small Things, I Thought I Heard a Cardinal Sing.www.donnahilbert.com
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Tickets & Registration
WRITING THE CATASTROPHE: SINGING IN DARK TIMES Instructor: Donna Hilbert
Date: Thursday, March 20, 2025
Time: 6:00-8:00pm Eastern (3:00-5:00pm Pacific) via Zoom
Price: $25 (payment options – Stripe / PayPal / Venmo / CashApp)
To register for this workshop, please email Mark Danowsky (ONE ART’s Editor-in-Chief) — oneartpoetry@gmail.com
“Stealth Formalism”: Avoiding the Pitfalls of Formal Verse
How do the most skilled formalists of today craft poems that sound fresh and contemporary, poems that read as naturally as free verse? Some poets are such ninjas of sound and sense that readers might reach the end of a sonnet before even realizing it is a sonnet. On the other hand, formal poems can be proficient and technically correct, yet still sound forced, archaic, stilted, or unintentionally humorous. Bad poetry, oh noetry! In this workshop, we will explore examples to demystify the common pitfalls of formal verse, learning techniques for leaping over them and onto the solid footing of effective poems. (Participants may wish to bring a poem draft “just in case” there’s time to review a few as samples for future revision.)
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About The Workshop Leader
Nicole Caruso Garcia’s full-length debut OXBLOOD (Able Muse Press) recently received the International Book Award for narrative poetry. Her work appears in Best New Poets, Light, Mezzo Cammin, ONE ART, Plume, Rattle, RHINO, and elsewhere. She serves as associate poetry editor at Able Muse and as an executive board member at Poetry by the Sea, an annual poetry conference in Madison, CT. Visit her at nicolecarusogarcia.com.
Note: Participants capped at 15 for this workshop.
Workshop Description:
Ekphrastic poetry is a written response to a work of art— a painting, drawing, photograph, sculpture or other type of rendering. Since the age of Homer, poets have devised various ways to interact with art, including analyzing the work, exploring symbolic meanings, inventing stories, or even creating dialog and dramatic scenes. The artwork often leads the poet to new insights and surprising discoveries.
In the first half of this two-hour workshop, we’ll go over the history of Ekphrastic poetry, discuss different approaches to and examples of ekphrastic works. Then, we’ll use our dedicated writing time to create a draft poem inspired by one of three different images provided.
Attendees are invited and encouraged to engage, discuss and share their poems with the group, although this is not mandatory. This workshop is limited to 15 participants so that everyone has a chance to share their work in a safe and intimate space.
Limited to 15 participants
About The Workshop Leader:
Ellen Rowland is a writer and editor who leads small, generative poetry workshops on craft and form. She is the author of two collections of haiku, Light, Come Gather Me and Blue Seasons, as well as the book Everything I Thought I Knew, essays on living, learning and parenting outside the status quo. Her poems have appeared in numerous literary journals and in several anthologies, most recently The Wonder of Small Things, edited by James Crews and Facing Goodbye by The Wee Sparrow Poetry Press.Her debut collection of full-length poems, No Small Thing, was published by Fernwood Press in 2023. Her poem within, “When the World Was Whole,” was nominated for Best of Net by Braided Way Magazine. She lives off the grid with her family on an island in Greece. Connect with her on Instagram and Facebook
To register: email Mark Danowsky at oneartpoetry@gmail.com
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Overview
“Stealth Formalism”: Formal Verse for Free Verse Poets
How do the most skilled formalists of today craft poems that sound fresh and contemporary, poems that read as naturally as free verse? Some poets are such ninjas of sound and sense that readers might reach the end of a sonnet before even realizing it is a sonnet. On the other hand, formal poems can be proficient and technically correct, yet still sound forced, archaic, stilted, or unintentionally humorous. Bad poetry, oh noetry! In this workshop, we will explore examples to demystify the common pitfalls of formal verse, learning techniques for leaping over them and onto the solid footing of effective poems. (Participants may wish to bring a poem draft “just in case” there’s time to review a few as samples for future revision.)
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About The Workshop Leader
Nicole Caruso Garcia’s full-length debut OXBLOOD (Able Muse Press) recently received the International Book Award for narrative poetry. Her work appears in Best New Poets, Light, Mezzo Cammin, ONE ART, Plume, Rattle, RHINO, and elsewhere. She serves as associate poetry editor at Able Muse and as an executive board member at Poetry by the Sea, an annual poetry conference in Madison, CT. Visit her at nicolecarusogarcia.com.
The Music of the Line: Rhythm, Rhyme and Repetition in Poetry
Hosted by: Ellen Rowland Day: Wednesday, July 24, 2024 Time: 11:00AM-1:00PM (Eastern) Price: $25 (payment options)
To register: email Mark Danowsky at oneartpoetry@gmail.com
Overview
Understanding and practicing the structure of formal poetry can often inform our free verse poems in beautiful and surprising ways. In this intimate, generative workshop, we’ll explore how the use of poetic devices relying on “the three Rs” can help us become better listeners when we read poetry and write our own. Through specific examples, we’ll learn to tune in to the music of the lines we create and the patterns and melodies of our word choices, while maintaining freedom of theme, expression and poetic voice. The second hour will be dedicated to discussion, prompt-based writing and optional sharing of our poems.
Limited to 15 participants
About The Workshop Leader
Ellen Rowland is a writer and editor who leads small, generative poetry workshops on craft and form. She is the author of two collections of haiku, Light, Come Gather Me and Blue Seasons, as well as the book Everything I Thought I Knew, essays on living, learning and parenting outside the status quo. Her poems have appeared in numerous literary journals and in several anthologies, most recently The Wonder of Small Things, edited by James Crews and Facing Goodbye by The Wee Sparrow Poetry Press. Her debut collection of full-length poems, No Small Thing, was published by Fernwood Press in 2023. Her poem within, “When the World Was Whole,” was nominated for Best of Net by Braided Way Magazine. She lives off the grid with her family on an island in Greece. Connect with her on Instagram and Facebook.
Nature and Ecopoetry Workshop Nature has long been used as setting and inspiration for poems, and as metaphors for exploring the personal and social issues. This workshop will explore how the non-human world can provide language, metaphors, and models for examining our place in the universe. We’ll look at classic and contemporary models, discuss theories and poetic practices for using nature as a subject in poetry, and work together on some strategies for writing new poems.
Grant Clauser is a Pennsylvanian. His sixth book, Temporary Shelters, is forthcoming from Cornerstone Press. His poems have appeared in The American Poetry Review, Greensboro Review, Kenyon Review and other journals. He’s an editor for a large media company and teaches poetry at Rosemont College.
Escaping Into the Present: Poetry as a Practice for Reseeing the World Instructor: Rosemerry Wahtola Trommer Date: Wednesday, June 26, 2024 Time: 5:30-7:30pm (Mountain Time) Price: Sliding Scale Event will be recorded
The act of writing a poem can bring us more closely to the essence of the moment, can help us exist in immediacy. In this two-hour online playshop, both practical and playful, we’ll sharpen our observational skills to engage with the poetry that lives in everything—objects, locations, situations, conversations. We’ll practice meeting what Hopkins calls “thisness.” As Mary Oliver writes, “the world offers itself to your attention, over and over.” Let’s meet it together, pen in hand. All levels of experience welcome.
Rosemerry Wahtola Trommer co-hosts Emerging Form (a creative process podcast), Secret Agents of Change (a surreptitious kindness cabal) and Soul Writer’s Circle. Her daily audio series, The Poetic Path, is on the Ritual app for your phone. Her poetry has appeared on A Prairie Home Companion, PBS News Hour, O Magazine, American Life in Poetry, and Carnegie Hall stage. She has 13 poetry collections, the newest is All the Honey. She’s been writing a poem a day since 2006 and she shares these on her blog, A Hundred Falling Veils.
Write a Demi-Sonnet! Instructor: Erin Murphy Date: Wednesday, June 12, 2024 Time: 3:00-4:30pm (Eastern) Price: $25 (payment options)
To register for this workshop, please contact Mark Danowsky (Editor-in-Chief of ONE ART) at oneartpoetry@gmail.com
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Write a Demi-Sonnet!
In this generative workshop, you will learn to write a demi-sonnet, a form invented by the instructor, Erin Murphy. Demi-sonnets are seven lines (half a sonnet!) and end with a full or slant rhyme. Poet Claire Bateman calls demi-sonnets “small but alarmingly penetrative,” while James Allen Hall says they “go by quickly but their staying power is immense.” Read sample demi-sonnets here and here. And here is a prize-winning demi-sonnet by Jennifer Wang written in response to a Rattle magazine prompt. During the workshop, you’ll read and discuss sample demi-sonnets, write one (or several) yourself, and learn how practicing the compressed form has applications for composing and editing both poetry and prose.
NOTE: Participants should bring to the workshop 3-5 original poems of 20-60 lines each.
Erin Murphy is the author or editor of fourteen books, chapbooks, and anthologies, most recently Fluent in Blue (Grayson Books, 2024) and Human Resources (forthcoming from Salmon Poetry). Her collections of demi-sonnets include Taxonomies (2022), Assisted Living (2018), and Word Problems (2011). She is poetry editor of The Summerset Review and professor of English at Penn State Altoona. Website: erin-murphy.com
