"Clearing the Sill of the World," the 28th annual Key West Literary Seminar, was an extraordinary event. Seven U.S. Poets Laureate joined as many winners of the Pulitzer Prize, along with up-and-coming poetic talents and a truly remarkable audience of readers, writers, teachers, and poetry lovers of all stripe. Unseasonal rain and record low (sub-50°!) temperatures kept everyone away from the beach but it was just as well. This was an event you didn't want to miss a moment of. Some highlights:



Pulitzer Prize winners James Tate and Yusef Komunyakaa, along with Rita Dove, Maxine Kumin, and Robert Pinsky, took part in a panel discussion on Saturday morning entitled "A Poet's View: My Life in Poetry."



Tate and Komunyakaa had each other and the house laughing, as they discussed the perils of identifying one's self as a poet.



Komunyakaa: "Gender plays a part in it. You get these weird looks from other guys, you know, 'You write poetry!?'"



Tate: "I got to a certain point in life where I finally just said, 'Yeah, why not? I'm a poet."



New Yorker poetry editor Paul Muldoon delivered a lecture and reading on the subject of "The Borderline." The moving account touched on Muldoon's boyhood in divided Ireland, the plight of a troubled schoolmate-turned-soldier, and Muldoon's appreciation for poetry that brings one up to and across borders.



On Sunday morning, Erica Dawson read a number of poems from her Anthony Hecht Poetry Prize-winning debut collection, Big-Eyed Afraid.



Fellow Poets Laureate Mark Strand and Richard Wilbur discussed the art of translation on Saturday afternoon with Rachel Hadas, Rhina Espaillat, and Robert Casper.



This year's named scholarships went to (from left to right), fiction writer Andrew Alexander, poet George Green, and poet Will Dowd.



A highlight for many in the audience was former Poet Laureate Maxine Kumin's "The Long Approach." The Sunday-morning lecture recounted the trials she and other women writers faced early in her career, explored the influences behind her long career as a formalist poet, and expounded on the joys of a life raising horses on a farm in New Hampshire.



Three-time Poet Laureate Robert Pinsky delivered Thursday night's keynote address, given each year in honor of noted novelist and World War II correspondent John Hersey.



Saturday afternoon saw Harvey Shapiro reading from his body of work, and talking about his poetic upbringing alongside the likes of George Oppen and Louis Zukofsky.



Todd Boss moderated a number of panels, led a writers' workshop, and read a selection of his work on Sunday.



Billy Collins gave a stellar early Saturday-morning reading of old favorites and unpublished work, including a new piece tentatively titled "The Hangover."



Kirby Congdon talked about his life and work.



Pulitzer Prize winner Natasha Trethewey read movingly from her work on Saturday, and participated in the final panel Sunday afternoon





Rita Dove's stunning "How Does a Shadow Shine" weaved several poems from her latest Sonata Mulattica together with accounts of the real life of its protagonist, the 18th-century black violin prodigy George Augustus Polgreen Bridgetower.

Photos by Sharon McGauley.

Thanks to Bonnie Obremski for the quotes from Tate and Komunyakaa.

Photographer Curt Richter partnered with the Key West Literary Seminar for the third consecutive year to continue work on his series of portraits of American writers. Below is a sampling of the work Richter created this January in his temporary portrait studio at the San Carlos Institute.

Longtime Seminar volunteer Nick Vagnoni captured dozens of unique behind-the-scenes shots of this year's Key West Literary Seminar with his fisheye lens. This year's podium, above, was designed by Needham-Fatica, who also produced the printed program, and developed the KWLS website.



The auditorium of the San Carlos Institute, completed in 1924, seats nearly 400. With record-low sub-50° temperatures throughout the Seminar weekend, this was a good thing, as almost no one sought the usual escapes of sun, sea, and sand.



This year's set, designed by Michael Boyer of the Waterfront Playhouse, was an abstraction of Key West's vernacular architecture. A facade of louvered shutters opened onto window-scenes of subtropical flora and fauna, supported by distinctive gingerbread and spindly balustrades.



Melody Cooper and Dan Simpson, a.k.a. Private Ear, sat here, once again expertly handling sound recording and engineering for the Seminar and various receptions.



With an eye toward next year's Seminar on food in literature, famed cocktailier Jason Rowan flew in at the last minute to raise the bar with his inimitable libations. Recipes for a Richard Wilbur-inspired hot toddie and more can be found at his Embury Cocktails.



The view from the podium. Stagefright, anyone?

Photos by Nick Vagnoni.

photo by Nick Vagnoni

The final day of the 28^th Annual Key West Literary Seminar concluded with a panel discussion led by Timothy Steele on "the necessity of poetry." Panelists Erica Dawson, Rhina Espaillat, Rachel Hadas, Yusef Komunyakaa, and Natasha Tretheway were in accord regarding its essential nature. Poetry is a win-win, Hadas said. It is dynamic and a pleasure from all vantage points; writing, reading, teaching, studying, translating.

 

The topic was approached from a personal standpoint as well as a more universal perspective. Dawson began by saying how grateful she was to live in a world where events such as the Seminar make it possible to bring people together over a collective love for poetry. She also expressed the desire for poetry to be even more central in our culture. This was a sentiment echoed by many of the panelists. Dawson also said that poetry saved her. It was her way of organizing her thoughts and emotions in a productive manner. Hadas agreed that poetry is sometimes a life raft of language.

 

Hadas brought up Steele's point, made earlier in the Seminar, that people call upon poetry in difficult times as well as joyous times. It is a place where the public meets the private. Poetry, and all forms of literature, reminds us that we're not alone, that others have been through the same trials of life. It reminds us that the world is bigger than we are. Espaillat added that it is the glue between individuals.

 

Throughout the seminar, the topic of teaching poetry to children at an early age was emphasized. Many said that poetry was not taught to them explicitly until the college level. Espaillat called for the nurturing of a "culture of amateurs," which she recognized tends to have a negative connotation. In fact, Espaillat explained, an amateur is a lover of something. Poetry and art must be intrinsic in our culture.

photo by Curt Richter

The John Malcolm Brinnin Memorial Event commanded a full house at the San Carlos Institute last night to pay tribute to Richard Wilbur, in whose honor this year's Seminar is being held. The evening began with a performance of two songs from the Broadway musical "Candide" by local singers Bruce Moore and Sandy Walters, accompanied by pianist Vincent Zito. First produced in 1956, Wilbur collaborated to write the lyrics with composer Leonard Bernstein and playwright Lillian Hellman.

 

Wilbur took the stage and was greeted by a standing ovation. He wintered and wrote in Key West beginning in the 1960s, and so he began the evening with a Key West poem, "Security Lights, Key West." The poem likens the "glare of halogen" on the yards of a quiet block to "the settings of some noble play." The "pitch-black houses," he concedes, may be the site of great drama, as well.

 

He went on to read two tender poems about love and his late wife, "For Charlee" and "The House." He also read from his forthcoming book, "The Anteroom." A portion of this book is dedicated to Wilbur's translations of riddles, and it was with great animation that he shared a few with the crowd. The riddle is a great from, he said, which unfortunately is usually seen only in nursery rhymes.

 

He went on to read his poem, "The Writer," for which the name of this year's seminar has borrowed his line "clearing the sill of the world." It was a great pleasure to hear him read this poem about his daughter,

 

In her room at the prow of the house

Where light breaks, and the windows are tossed with linden,

My daughter is writing a story.

 

He concluded the night's reading with short poems from his children's book "The Disappearing Alphabet." In this, he illustrates how detrimental the loss of a single letter would be. "For instance, any self respecting DUCK/ Would rather be extinct than be an UCK."

 

The evening ended with another standing ovation and murmurings from the audience for more. Afterwards, the crowd assembled at the historic Custom House for cocktails and dessert where Wilbur mingled amongst poets, readers, and writers.

Mark Strand and Richard Wilbur.


Robert Pinsky and Rita Dove.


James Tate and Yusef Komunyakaa.


Paul Muldoon.

Photos by Sharon McGauley.

Billy Collins spoke this morning on the relationship between poet and reader. This relationship is intimate and one that Collins is acutely aware of when writing. The maximum occupancy for a lyrical poem, Collins said, is two, the poet and the reader.

 

He divided contemporary poetry into two camps. The first is poetry where the poet is aware of the reader's presence, and in the second he is not. The first are dogs, the second cats, he illustrated in metaphor. For Collins poetry is a social encounter. He makes a practice of including a prefatory poem in each of his books explicitly acknowledging the connection between poet and reader.

 

On a note to poetic form as discussed yesterday, Collins said that form is what makes poetry sociable by including the reader. Free verse also has formal properties, he said. In his revision process, he often alternates between writer and reader in order to check his self-expressive urges with an objective other.

 

In his writing workshops, he will often tell his students, "Nobody cares about you." Self-expression is wildly overrated. Readers of poetry are interested in the poetry, the poetic form, not the poet. For this reason, a poet's awareness of his reader is critical.

Photo by Sharon McGauley.

 

Mark Strand

Rita Dove

Erica Dawson and Rhina P. Espaillat


James Tate


Richard Wilbur

Photos by Sharon McGauley

photo by Sharon McGauley

Timothy Steele gave a talk yesterday on the pleasures of metrical writing. This was a topic that many of the poets touched on throughout the day in their readings and panel discussions. In fact, Rhina Espaillat quipped that she invented meter as a schoolgirl when she first discovered rhythmical pattern (ta-tum ta-tum ta-tum ta-tum) in the poetry her teacher read. In the same panel, Maxine Kumin was quick to correct Espaillat that she beat her to it ten years prior when she invented meter. This pursuit of shapeliness, form, movement, and music is at the very heart of writing poetry.

For Steele, it is essential that poets today not abandon meter completely. It is not enough for young readers and writers to go back to old masters of verse such as Shakespeare for this metrical pleasure. There must be a spark of emulation from today's living writers for the next generation of poets to use meter in a way that is relevant and modern.

Meter is an enchanting fusion of order and disorder, Steele explained. It is a sensuous purchase on language. Meter is set. Irregularity is presented with words, phrases, and syntax. It is not necessary to analyze rhythm, per se. One can let it happen. Maxine Kumin also noted that form is used and complied with, but also violated.

Yusef Komunyakaa likened poetry to carpentry. In both pursuits there are a particular set of tools at hand to create something that functions. Each is admired for its precision in composition. He noted the visceral use of the hands in both pursuits as messengers of the brain formed through accidental perfection. For Komunyakaa, energy is the soul of poetry.

Steele asserted that meter stops you and asks you to check your inspiration. It is an instrument of discovery. It is meter that gives a poem its shape. Metrical pleasure is what allows a poem to seep into your consciousness time and again, recalling upon it in moments of joy or sorrow.

After the long trip to Key West, the audience for the 28th annual Key West Literary Seminar settles in to the San Carlos for the afternoon registration.



Long-time volunteer Eloise Pratt again helped out at the registration tables. Here, Eloise models a vintage 1989 KWLS sweatshirt.

Photos by Curt Richter

From top to bottom: William Kennedy,
Silas House, Annie Dillard, Billy Collins Photographer Curt Richter arrives in Key West from Helsinki, Finland, this week to continue work on his new series of portraits of American writers.

Richter first visited Key West in 2008 as an Artist in Residence at The Studios of Key West. He set up a temporary portrait studio in the organization's Mango Tree House, where he invited members of the community to sit before his camera. In partnership with the Key West Literary Seminar, Richter also photographed a number of the writers speaking at that year's New Voices Seminar. A selection from hundreds of these portraits resulted in Still and All, a collaborative project combining 20 of Richter's portraits with the literary talents of over a dozen writers, who penned fictional 'biographies' to accompany each portrait. Richter returned for last year's Historical Fiction and the Search for Truth, arranging portrait sessions during the Seminar with writers including Gore Vidal, William Kennedy, and Barry Unsworth, as well as many members of the community.

Richter's growing body of new portraits promises to join his Portrait of Southern Writers as one of our time's compelling photographic records of American writers. We are delighted to welcome him back to Key West and the 28th annual Literary Seminar to continue this important project.

Time permitting, Richter will also be scheduling portraits with members of the community. Attendees of the Seminar may feel free to talk with Richter or Arlo Haskell to coordinate a session.