In Natasha Trethewey’s “Flounder,” which appears in her debut collection, Domestic Work (Graywolf Press, 2000), the speaker of the poem recalls a scene from her memories as a young girl fishing with her aunt. The aunt explains how to spot a flounder, “A flounder, she said, and you can tell / ’cause one of its sides is black. // The other side is white, she said.” The poem ends with a strong image that subtly casts an emotional parallel with the speaker seeing a connection between her mixed-race identity and the flounder: “I stood there watching that fish flip-flop, / switch sides with every jump,” writes Trethewey. Inspired by Trethewey’s precise use of an extended metaphor, write a poem in which you cast a parallel between an animal in the wild and yourself. What characteristics will you draw out?

In the fall of 1997, Deborah Tall and John D’Agata, then the editor and associate editor of Seneca Review, respectively, began publishing what they called the lyric essay, pioneering the popular essay form. Tall and D’Agata discussed the appeal of the lyric essay, writing: “We turn to the lyric essay—with its malleability, ingenuity, immediacy, complexity, and use of poetic language—to give us a fresh way to make music of the world.” Inspired by their definition of the lyric essay as a form that gives “primacy to artfulness over the conveying of information,” revise a forgotten draft of an essay and turn it into a lyric essay. Try to move by association and connotation, integrating gaps and lyrical language to help the essay bloom.

Although Garth Greenwell’s books What Belongs to You (Farrar, Straus and Giroux, 2016) and Cleanness (Farrar, Straus and Giroux, 2020) are two separate works of fiction with distinct stories and forms, they share the same protagonist and setting. The former is a novel that focuses on a gay American teacher in Bulgaria who has a relationship with a young sex worker, while the latter is a collection of linked stories featuring the same character that expands upon his life abroad. The reading experience of each is uniquely individual and immersive, making the follow-up book not a sequel but an expansion. Is there a character from a story you’ve written in the past that you want to revisit? This week, start a new story in which you return to a character of yours and expand their life.

The house in which Nobel Prize–winning poet Tomas Tranströmer lived with his wife was located on the island of Runmarö in Sweden and built in the late nineteenth century by his maternal grandfather, a ship captain who needed a place to rest upon reaching landfall. In Tranströmer’s poem “The Blue House,” he describes the historic house’s exterior as well as its storied past. “It has stood for more than eighty summers. Its timber has been impregnated, four times with joy and three times with sorrow,” he writes. Write a poem that serves as a portrait of a place you have lived in. Consider its past tenants, the details of its exterior and interior, and its relationship to your life.

Looking to publish your poetry collection? Try sending it to Howling Bird Press for a shot at a prize of $2,500 and publication.

howling_bird.jpg

Using only the online submission system, submit a manuscript of 48 to 72 pages with a $25 entry fee by August 21. Visit the website for complete guidelines.

Howling Bird Press is the publishing house of the creative writing MFA program of Augsburg University in Minneapolis, where it is staffed by graduate students enrolled in the program’s publishing concentration. The press’s annual book prize alternates genres each year, awarding fiction and nonfiction manuscripts in addition to poetry. In 2019, Lisa Van Orman Hadley won the Howling Bird Press Fiction Prize for her novel, Irreversible Things, which “follows three decades in the life of author-qua-narrator Lisa and her charismatic Mormon family, from childhood to puberty to adulthood.” In 2018, KateLynn Hibbard won the Howling Bird Press Poetry Prize for her poetry collection Simples, which “transports us back in time to search out the remedies and inner strength necessary to survive a hardscrabble life on the frontier plains.”

Last weekend the highly anticipated summer blockbuster film Barbie premiered. Directed by Greta Gerwig, the film has already earned praise for the attention to detail paid in the costumes, playhouses, and collector’s items, conjuring memories for many of their time spent playing with the iconic doll. Inspired by the resurging popularity of Barbie dolls, write an essay about your favorite childhood toy. Was it one you played with in secret or with friends? If you still have the toy, what has made you hold on to it? If you gave it away, was that a difficult process for you?

Films and TV shows are known for their memorable theme songs, but music can be a powerful tool for characters on the page as well. “When it comes to a specific character, I often look for a theme song that fits either their personality or some aspect of their nature,” writes Amiee Gibbs, author of the novel, The Carnivale of Curiosities (Grand Central Publishing, 2023), in her installment of our Writers Recommend series. “The Cure’s ‘Burn’ and ‘Charlotte Sometimes’ perfectly complimented two of my leads, and it felt right having the same musical artist represent and define them in my mind.” This week, pick a theme song for a character and build a story around the lyrics and music. How can a song supply mood and conflict for a character?

In his poem “Self-Portrait at Twenty,” Gregory Orr demonstrates the short, personal lyric he’s known for and captures a moment in time in his life. Rather than include details about what occurred when he was twenty, Orr presents a series of stark, detailed images that create a sense of foreboding for what the year had in store for him. The poem begins with the lines: “I stood inside myself / like a dead tree or a tower.” Then, later in the poem, he writes: “Because my tongue / spoke harshly, I said: / Make it dust.” Take inspiration from Orr’s poem and write a self-portrait poem that captures what you felt at a specific age. Try to avoid revealing narrative details and instead, use your sense of imagery to allow the reader in to your state of mind.