Slam 101

By Kathleen Driskell, Spalding Low-Residency MFA Program Director

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The Spalding MFA in Writing Program continues to provide strong traditional creative writing courses in many genres at the graduate level, but creative writing programs should be . . . well  . . . creative. Continue reading “Slam 101”

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What Cross-Genre Exploration looks like for Spalding MFA Students

By Katy Yocom, Spalding MFA Associate Director

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Cross-genre exploration has been a hallmark of the Spalding low-residency MFA in Writing curriculum since the program was launched in 2001. But while many students arrive eager to explore across genres, others aren’t so sure. “I want to be able to focus on my own area,” they’ll say.

Fear not, trepidatious writers. You absolutely will. You can spend every single residency and independent study in your own area, if you want. Continue reading “What Cross-Genre Exploration looks like for Spalding MFA Students”

SPALDING MFA OFFERS BOOK-LENGTH POETRY MANUSCRIPT WORKSHOP AT THE FALL 2018 RESIDENCY, NOV 9-18

By Kathleen Driskell, Program Director, Poetry Faculty Member

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To date I’ve published four full-length books of poetry, and while it’s thrilling to hold one of my new books in my hands, one of my truly favorite moments happens when I realize my heap of new poems is high enough to begin thinking about how they should be collected into a manuscript. Continue reading “SPALDING MFA OFFERS BOOK-LENGTH POETRY MANUSCRIPT WORKSHOP AT THE FALL 2018 RESIDENCY, NOV 9-18”

Writing Rooms

By Maureen Morehead, Spalding MFA Poetry Faculty
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George Bernard Shaw’s Writing Shed

 

For twenty years I have written in the first floor family room of my house. I have an office on the second. It’s a spacious room with manila-colored walls, a vaulted ceiling, a large palladium window, an antique desk, a trestle table with baskets and writing magazines, a magnifying mirror I use for putting on makeup, two red chairs, a filing cabinet, a printer, and a black three-drawer bow-front dresser in which I store paper and envelopes, folders, paper clips, staples, rubber bands—the stuff of a writer. Continue reading “Writing Rooms”

Bang for your buck: Cost, affordability, and what to look for when shopping for an MFA program

Katy Yocom, Associate Administrative Director, Spalding University MFA

Fourth Street Live

An MFA isn’t a degree like law or engineering, where you’re pretty sure you’re launching yourself into a lucrative career. Most people I know pursue an MFA because they have an unshakable passion for writing, because they feel driven—sometimes in the middle of their lives—to step off the expected path and do this thing that doesn’t make any sense at all, except that they can no longer pretend it’s okay not to do it.   Continue reading “Bang for your buck: Cost, affordability, and what to look for when shopping for an MFA program”

Finding Love in Loss: An Interview with Kathleen Driskell

Interview by Caitlin McCann, Originally appeared in StorySouth, Back Issue #41
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Kathleen Driskell

Kathleen Driskell’s most recent book, Next Door to the Dead, is a Kentucky Voices selection published by The University Press of Kentucky. In this collection of poetry, Driskell reflects upon the experience of living next door to a graveyard. A graveyard she was initially led to believe was full, essentially inactive. She quickly discovered the opposite was true when one afternoon she had to bring in groceries while a funeral was being held next door—a moment she recounts in “Living Next to the Dead Acre.” Then there are also the teenagers who think themselves to be bold and cool to creep around a cemetery in the middle of the night, which she writes about in “What Haunts” But Driskell does not stay on our plane of existence for very long. The poems shift into the perspectives of the graveyard’s inhabitants, thus creating a community that would not otherwise exist. Each neighbor’s resurrected voice is distinct, relatable, and poignant. Driskell’s ability to make the 167-year-old death of a mother and her infant in “Markers” feel fresh and personal is astounding. Driskell writes of her neighbors with such tenderness and reverence. She is able to transcend the book’s focused location to deftly speak on themes and societal issues like love, war, fried chicken, and the female mummy in “Tchaenhotep: Mummy at the Kentucky Science Center” who is doomed to be the subject of the male gaze. Driskell’s voice as a poet is admirable—there is strength in its quietude, and it is this subtle strength that allows Next Door to the Dead to resonate long after you have read the last poem. Continue reading “Finding Love in Loss: An Interview with Kathleen Driskell”