The Poetic Justice of Grief

By Lesléa Newman, Faculty, Writing for Children & Young Adults

“You’re already writing about your mother?”
“It took me years to be able to write about my father.”
“Don’t you need time to grieve?”
“Wasn’t it incredibly difficult to write about your parents so soon after they died?”

These are the kinds of comments I received from people who couldn’t believe I picked up my pen immediately after sitting shiva first for my mother in August of 2012 and then again for my father in December of 2017. They were incredulous that I was able to write. I was incredulous that they were incredulous. I’m a writer, more specifically a poet. Writing (and reading) poetry is how I make sense of the world: the world outside of me, the world inside of me, and the relationship between the two.

So of course I turned to writing after each of my parents died. Not as a way to ignore my grief or postpone my grief or distract myself from my grief, but as a way to immerse myself in my grief. It may sound funny, but truthfully I was happiest when I was diving deep into my sadness by writing poetry about my parents. It kept them close to me. As I wrote about them I saw them, I felt them, I heard their voices in my head. And that was very comforting.

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The Documentary Poetry We Need Now

By Lynnell Edwards, Associate Programs Director, Spalding’s School of Creative and Professional Writing

On good days, mere chaos seems to swirl around us like smoke; on bad days it feels like we are staring down the apocalypse. Everywhere: the body oppressed and rent by violence, the body sickened (by virus, by fire, by flood) the body “distanced” or “essential.” Literature and the arts have always been part of healing in troubled and transitional times, but documentary poetry, with its arc beyond the interiority of the lyric and toward the external realities of the material world, has an especial urgency in these difficult days.

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On Possibility

By Keith S. Wilson, Poetry Faculty

For me, poetry is a balance, or a vacillation, between overthinking a thing until I’ve ground it to dust, and floating on the air, letting the writing happen. One translation of this happens when I try not to think at all, to the extent that that is possible, and write, and then follow that up later by looking at every last detail as I edit.

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Requiem for a Nest: L.A. Blueswoman Wanda Coleman

by Douglas Manuel, Spalding’s School of Writing Poetry Faculty

When I moved to the L.A. area in 2013, I didn’t know much about Wanda Coleman. I didn’t know she was known as the “L.A. Blueswoman.” I didn’t know she was the low-key, real, unofficial Poet Laureate of Los Angeles. I didn’t know about her Lenore Marshall Prize. I didn’t know about Mercurochrome being a finalist for the National Book Award. I didn’t know about her coming for Maya Angelou (All love and praise due to Maya Angelou though!) and writing that A Song Flung Up to Heavenseem[ed] small and inauthentic, without ideas, wisdom or vision.” Honestly, and this hurts me the most to admit, I hadn’t even read a single poem of Coleman’s before she died on November 22, 2013. And even worse, I didn’t even go to her memorial at the downtown L.A. Central Public Library that January of the following year. What a fool I am, what a fool!

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