Schedule of Events Wednesday, March 4 12:00 noon to 7:00 p.m - cloudfront.net
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Schedule of Events
Wednesday, March 4 5:00 p.m. to 6:00 p.m.
W103. CLMP Membership Meeting. (Mary Gannon, David Gibbs,
12:00 noon to 7:00 p.m. Montana Agte-Studier) Room 205, Henry B. González Convention Center,
Meeting Room Level
W100. AWP Bookfair Setup, Sponsored by Trinity University Press.
Exhibit Halls 3-4, Henry B. González Convention Center, Street Level This event is for all independent literary publishers: seasoned
professionals, those just starting out, and all in between. Learn what
The exhibit hall at the Henry B. González Convention Center will we’re planning for the year and share your thoughts on how we can best
be open for Bookfair setup. For safety and security reasons, only ensure that our community thrives. Even if you’re not yet a member of
those holding a Bookfair Setup Access (BSA) registration, or those CLMP, but would like to find out more, please feel welcome to join us.
accompanied by an individual wearing a BSA registration, will be
permitted inside the Bookfair during setup hours. Bookfair exhibitors
6:00 p.m. to 7:00 p.m.
are welcome to pick up their registration materials in AWP’s
registration area in Exhibit Hall 3, Henry B. González Convention
W104. SPD Membership Meeting. (Jeffrey Lependorf, Brent
Wed-Thurs
Center, Street Level.
Cunningham, Trisha Low) Room 205, Henry B. González Convention Center,
Meeting Room Level
W101. Conference Registration, Sponsored by the Poetry Foundation.
Exhibit Hall 3, Henry B. González Convention Center, Street Level This event is for all independent literary publishers: seasoned
professionals, those just starting out, and all in between. Learn what
Attendees who have registered in advance, or who have yet to we’re planning for the year and share your thoughts on how we can best
purchase a registration, may secure their registration materials in ensure that our community thrives. Even if you’re not yet a member of
AWP’s registration area located in Exhibit Hall 3, Henry B. González SPD, but would like to find out more, please feel welcome to join us.
Convention Center, Street Level. Please consult the Bookfair map in
the conference planner for location details. Students must present a
valid student ID to check in or register at our student rate. Seniors must
present a valid ID to register at our senior rate. A $50 fee will be charged
Thursday, March 5
for all replacement badges.
7:30 a.m. to 8:45 a.m.
2:00 p.m. to 2:30 p.m.
R100. Sober AWP. Room 225C, Henry B. González Convention Center,
Meeting Room Level
W101A. Accessibility Tour. Accessibility Desk, Registration Area, Henry B.
Gonzalez Convention Center, Street Level Daily 12-Step Meeting. All in recovery from anything are welcome.
Join the AWP conference staff for a tour of the Henry B. González
Convention Center. This tour will cover main event areas of the Henry 8:00 a.m. to 8:45 a.m.
B. González Convention Center and will be an opportunity to ask
questions about conference accessibility. This tour is great for someone R101. Narrative Healing: Meditation with Lisa Weinert. (Lisa Weinert)
who would like to get a sense for the distances between meeting rooms Room 004, Henry B. González Convention Center, River Level
and to plan easiest routes. If you are unable to make it to this 2:00 p.m. Open to all! Start the day tapping inward to open up your senses and
tour, please email colleen@awpwriter.org to arrange for a different time. attune your attention for the day ahead. This mindfulness meditation
series will focus on breath and body awareness. Comfortable clothing
2:00 p.m. to 6:00 p.m. encouraged. Featuring publishing professional and mindfulness
meditation teacher Lisa Weinert and others. www.lisaweinert.com @
W102. Author Portraits by Adrianne Mathiowitz Photography. lisaweinert www.narrativehealing.com
(Adrianne Mathiowitz) Room 221C, Henry B. González Convention Center, Directions from the Main Lobby: Go past the administration
Meeting Room Level building, turn right into the hallway and proceed past the restrooms and
Grab & Go area towards the West Lobby, take a right and go inside the
Stop being embarrassed of your author photo! A great portrait is not
Lila Cockrell Theatre, take the elevator to the River Level, and arrive at
only flattering, but actively invites your audience to get to know you
Room 004.
and your work. Returning for a fourth year at AWP, photographer
Directions from the Meeting Level: Take any elevator to the River
Adrianne Mathiowitz will be offering twenty-minute studio sessions
Level area, proceed past rooms 007–006 and exit the building, keep
on site. See your proof gallery of images immediately; any portrait you
going towards the Lila Cockrell Theatre and enter the theater on your
choose will be fully processed and digitally delivered in high res for
right, walk straight until you arrive at Room 004.
$85. (Conference discount: sessions usually priced at $375.) Put your
best face forward on websites, book covers, social media, and published
interviews. Advanced sign-up required: am-photography.ticketleap.
com/author-portraits-at-awp-2020 Panel Pedagogy Reading
578:00 a.m. to 6:00 p.m. Level area, walk past rooms 007-006 and exit the building, keep walking
towards the Lila Cockrell Theatre and enter the theatre on your right,
R102. Author Portraits by Adrianne Mathiowitz Photography. walk straight until you arrive at Room 004.
(Adrianne Mathiowitz) Room 221C, Henry B. González Convention Center,
Meeting Room Level R106. Nursing Mothers’ Room 1. Room 208, Henry B. González
Convention Center, Meeting Room Level
Stop being embarrassed of your author photo! A great portrait is not
only flattering, but actively invites your audience to get to know you This nursing mothers room is located in room 208 on the Meeting
and your work. Returning for a fourth year at AWP, photographer Room Level, and is available for any nursing mother to use. Using this
Adrianne Mathiowitz will be offering twenty-minute studio sessions room will require a key from the AWP Help Desk, which is located in
on site. See your proof gallery of images immediately; any portrait you the registration area in Exhibit Hall 3, Henry B. González Convention
choose will be fully processed and digitally delivered in high res for Center, Street Level. A refrigerator will also be available at the AWP
$85. (Conference discount: sessions usually priced at $375.) Put your Help Desk for your convenience.
best face forward on websites, book covers, social media, and published
interviews. Advanced sign-up required: am-photography.ticketleap. R107. Nursing Mothers’ Room 2. Next to Room 215, Henry B. González
com/author-portraits-at-awp-2020 Convention Center, Meeting Room Level
This nursing mothers’ room is located next to room 215 on the Meeting
8:00 a.m. to 5:00 p.m. Room Level and is available for any nursing mother to use. This space is
a single room that can be locked from the inside. A refrigerator will be
Thursday
R103. Conference Registration, Sponsored by the Poetry available for your convenience at the AWP Help Desk, which is located
Foundation. Exhibit Hall 3, Henry B. González Convention Center, Street Level in the registration area in Exhibit Hall 3, Henry B. González Convention
Attendees who have registered in advance, or who have yet to Center, Street Level.
purchase a registration, may secure their registration materials in
AWP’s registration area located in Exhibit Hall 3, Henry B. González R108. Nursing Mothers’ Room 3. Next to restrooms outside of Exhibit
Convention Center, Street Level. Please consult the Bookfair map in Hall 4A, Henry B. González Convention Center, Street Level
the conference planner for location details. Students must present a This nursing mothers’ room is located next to the Grab & Go food
valid student ID to check in or register at our student rate. Seniors must area in the lobby corridor between the Main and West lobbies and is
present a valid ID to register at our senior rate. A $50 fee will be charged available for any nursing mother to use. This space has two stalls which
for all replacement badges. can both be locked from the inside. A refrigerator will be available
for your convenience at the AWP Help Desk, which is located in the
R104. Dickinson Quiet Space, Meeting Room Level. Room 221D, registration area in Exhibit Hall 3, Henry B. González Convention
Henry B. González Convention Center, Meeting Room Level Center, Street Level.
A dedicated quiet space for you to collect your thoughts, unwind, and
escape the literary commotion. “There is a solitude of space, / A solitude 8:30 a.m. to 5:00 p.m.
of sea, / A solitude of death, but these / Society shall be, / Compared
with that profounder site, / That polar privacy, / A Soul admitted to R109. Bookfair Concessions, Bar, & Lounge. Exhibit Halls 3-4, Henry B.
Itself: / Finite Infinity.” –Emily Dickinson González Convention Center, Street Level
Breakfast and lunch concessions are available inside the Exhibit Hall in
R105. Dickinson Quiet Space, River Level. Room 007D, Henry B. the Henry B. González Convention Center. Cash, debit, and credit cards
González Convention Center, River Level are accepted at all food and beverage locations. Please consult the maps
A dedicated quiet space for you to collect your thoughts, unwind, and in the conference planner or mobile app for location details.
escape the literary commotion. “There is a solitude of space, / A solitude
of sea, / A solitude of death, but these / Society shall be, / Compared 9:00 a.m. to 5:00 p.m.
with that profounder site, / That polar privacy, / A Soul admitted to
Itself: / Finite Infinity.” –Emily Dickinson. R110. AWP Bookfair, Sponsored by Trinity University Press. Exhibit
Halls 3-4, Henry B. González Convention Center, Street Level
R105A. Non-Fluorescent Quiet Space. Room 004, Henry B. González With more than 700 literary exhibitors, the AWP Bookfair is the
Convention Center, River Level
largest of its kind. A great way to meet authors, critics, and peers, the
A quiet space free of fluorescent lighting, with windows looking out Bookfair also provides excellent opportunities to find information
to the River Walk and plenty of natural lighting. Please note that yoga about many literary magazines, presses, and organizations. Please
sessions will also occur in this room throughout the day, but that consult the Bookfair map in the printed conference planner or AWP
attendees may use this room at any time to take a break. mobile app for location details.
Directions from the Main Lobby: Walk past the administration
building, turn right into the hallway and walk past the restrooms and R110B. AWP Membership & Writer to Writer Mentorship Program
Grab & Go area towards the West Lobby, take a right and go inside the Booth. Booth 1447, Exhibit Halls 3-4, Henry B. González Convention Center,
Lila Cockrell Theatre, take the elevator to the River Level and arrive at Street Level
Room 004.
AWP’s Writer to Writer Mentorship Program matches new writers
Directions from the Meeting Level: Take any elevator to the River
with published authors for a three-month series on the writing life.
58Now in its sixth year, Writer to Writer is open to all members, but physicians, a clinical pharmacist, a biomedical researcher, and a
we particularly encourage applications from those writers who have former medical editor discuss how their biomedical work troubles and
never been associated with an MFA program and those writing from informs their writing.
regions, backgrounds, and cultures that are typically underrepresented
in the literary world. To learn more, visit AWP’s Bookfair booth, R115. Teaching the Tenth Draft: Centring Revision in the
where you will be able to talk with past program mentors and Classroom. (John Vigna, Eleanor Panno, Billy-Ray Belcourt, Annabel Lyon)
mentees. Diane Zinna, the program’s director, will also be there to Room 006C, Henry B. González Convention Center, River Level
answer your questions.
As writers, we know that revision is 90% of our job. So why isn’t
revision 90% of the workshop? It’s all too easy to prioritize new writing
R111. Traveling Stanzas: Armed With Our Voices. Room 216B, Henry B. over seeing the same piece again and again. We take the “revision as
González Convention Center, Meeting Room Level afterthought” model down to the studs and rebuild a robust, integrated
In May 1970 at Kent State University, four students were killed and approach to revision. Hear from writers across multiple genres about
nine were wounded during a non-violent protest against the Vietnam what works and what doesn’t, and how centring revision is actually a
War. The tragedy revealed the grave consequences that result when radical revisioning of what it means to teach writing.
communication collapses. Today, polarized perspectives, divided
communities, and school violence are commonplace. As we approach R116. Spoken Identities: Crafting Character through Slang and
the 50th anniversary of the May 4 tragedy, the Wick Poetry Center, with Multilingualism. (Juliana Delgado Lopera, Emma Ramadan, Ivelisse
its partners, has developed this interactive exhibit, encouraging visitors Rodriguez, Joseph Cassara, Wayetu Moore) Room 006D, Henry B. González
Thursday
to explore the history of student protest and the timely themes of peace Convention Center, River Level
and conflict transformation. www.armedwithourvoices.org Writers consider how both spoken and internal dialogue is used to
create character, as well as illustrate relationships and dynamics between
R111A. First Timers Lounge. Room 220, Henry B. Gonzalez Convention individuals and society at large. Through use of slang, multilingualism,
Center, Meeting Room Level and culturally specific syntax and vocabulary, writers situate characters
Welcome to AWP! Please enjoy this unique space in the Henry B. in a particular time and place. Dialogue allows one to show characters’
González Convention Center to unwind away from conference events lives rather than tell about them, making it a powerful tool to avoid
and connect with other first-time conference goers. Past Writer to tokenism, while exploring the full diversity of people’s experiences.
Writer participants will be there to answer questions and provide useful
conference tips. R118. Who Are Adoptees and Who Has the Right to Write about
Them?. (Marci Calabretta Cancio-Bello, Tiana Nobile, Leah Silvieus, Ansley
9:00 a.m. to 10:15 a.m. Moon) Room 007B, Henry B. González Convention Center, River Level
Books featuring adoption have garnered attention in recent years,
R112. Yoga for Writers. (Manisha Sharma) Room 004, Henry B. González and yet, many portrayals of adoptees in literature continue to be
Convention Center, River Level one-dimensional. This panel will take a critical look at adoptee
Join a certified yoga instructor for a gentle, one-hour yoga and representations in several examples of contemporary literature in
meditation practice, appropriate for practitioners of all levels and order to interrogate the ways in which adoptee narratives reflect
abilities, focusing on stretching and mindfulness for writers. Please broader understandings of adoptee identity. We will also examine
come wearing comfortable street clothes; mats and yoga apparel the consequences that such problematic depictions can have on US-
are not necessary. international relations and policy-making.
Directions from the Main Lobby: Go past the administration
building, turn right into the hallway and proceed past the restrooms R119. The Nuts and Bolts of Student Editors: Including, Engaging,
and Grab & Go area towards the West Lobby, take a right and go and Challenging Them. (Lisa Lewis, Caitlin Rae Taylor, Katherine Abrams,
inside the Lila Cockrell Theatre, take the elevator to the River Level, Jonathan Heinen, Aimee Baker) Room 007C, Henry B. González Convention
and arrive at Room 004. Center, River Level
Directions from the Meeting Level: Take any elevator to the River Student editors’ efforts can reach beyond slogging through the slush
Level area, proceed past rooms 007–006 and exit the building, keep pile, but they need an intentional system in which to work. How do
going towards the Lila Cockrell Theatre and enter the theater on your small journals include students efficiently? How do large journals
right, walk straight until you arrive at Room 004. engage students effectively? How do all of us challenge students
without overwhelming them? Our panel of editors will share a few
R113. Havoc and Healing: Intersections of Creative Writing and methods of working with student editors, explain what went well/what
Science. (Irène Mathieu, Seema Yasmin, Joseph Osmundson, Hadara Bar- flopped, and respond to your journal’s challenges (or help you process
Nadav, Ruth Madievsky) Room 006A, Henry B. González Convention Center, your new, wild ideas!)
River Level
Health care and literature have a long history of interconnection— R120. Two Decades of Arab Lit: Making Space for Complexity.
William Carlos Williams famously delivered babies and wrote poems (Lana Salah Barkawi, Elmaz Abinader, Joe Kadi, Mohja Kahf) Room 008, Henry
on prescription pads. What can writers learn from scientists and vice B. González Convention Center, River Level
versa? What do literary craft and clinical practice have in common? Since 1999, the multidisciplinary Arab arts organization, Mizna,
How are biomedical and literary ethics related? In this panel, two has published an eponymous literature and art journal dedicated to
59R120. continued
centering work from Arab American writers, which, twenty years later,
R125. Escape into Truth: Craft and Catharsis in the Creative
remains the only such printed space. Mizna has long prioritized the
Nonfiction Workshop. (Christa Parravani, Lisa Page, Brando Skyhorse, Annie
authentic reflection of our community’s complexities while inviting
Liontas) Room 209, Henry B. González Convention Center,
a non-Arab readership to meet the writing on its own terms. An Meeting Room Level
acclaimed literary cadre will read and reflect on the history and current
state of Arab American literature. This panel discussion will address best practices for the creative
nonfiction workshop on the graduate and undergraduate levels,
R121. Beyond the Classroom Walls: Teaching Online Creative focusing on craft, pedagogy, and experimentation. Alexander Chee
Writing. (Silas Hansen, Elane Johnson, Oindrila Mukherjee, Jason McCall) wrote, “To write is to sell a ticket to escape, not from the truth, but
Room 205, Henry B. González Convention Center, Meeting Room Level into it.” The CNF workshop can be the best vehicle for this work,
and panelists will supply models for success, pitfalls to avoid, and
Five accomplished, diverse writers who teach creative writing online recommended practices.
confront the challenges of remote courses and programs, offering
experiences, assignments, and best practices that meet the specific
R126. Lit & Luz: MAKE-ing Interdisciplinary Partnerships On and
needs of online writing students and help these learners to succeed
Off the Page. (Kathleen Rooney, Jessica Anne, Kamilah Foreman, Sarah
and soar. Panelists provide valuable takeaways for writers considering Dodson, Miguel Jimenez) Room 210A, Henry B. González Convention Center,
remote education, for curriculum designers, and for the growing Meeting Room Level
number of faculty who will choose or need (for the same reasons as
students) to teach online. MAKE Literary Productions promotes writing, translation, and
visual art through an annual print publication and multimedia
Thursday
events, including the yearly Lit & Luz Festival, a collaboration between
R122. Expat Writers in and from Asia: Questioning the Term
“Expatriate”. (Sybil Baker, Collier Nogues, Lawrence Lacambra Ypil, Ploi Mexican and American artists held in both Chicago and Mexico City.
Pirapokin, James Shea) Room 206A, Henry B. González Convention Center, Editors discuss concrete methods for creating and sharing innovative,
Meeting Room Level inclusive, and heterogeneous work in print and in person. Strategies
for cultivating diverse audiences and community engagement
White writers living overseas are called “expatriate” writers, whereas will be put forth.
writers of color are often described as “immigrants” which raises
the question of how privilege informs a writer’s experience in a new
R127. Prayers on the Page: Faith as the Last Taboo in Children’s
country. This panel interrogates the nature of the expatriate writer
Literature. (Ann Jacobus Kordahl, Katie Henry, Susan Kaplan Carlton,
today and whether the term "expatriate” is meaningful or misleading. Mark Oshiro) Room 210B, Henry B. González Convention Center, Meeting
Five writers from the U.S., Thailand, and the Philippines share their Room Level
experiences living overseas and wrestling with their position in their
newfound home. Early U.S. children’s literature was Christian-themed and heavily
moralistic, but today mainstream houses, and therefore writers,
avoid the personal, emotional, and dangerous subject of religion.
R123. Poems Go Pop: How TV, Film, and Music Are Vital to
Contemporary Poetry Practices. (Christina Beasley, Samantha Duncan, This despite the fact that 75% of Americans identify with one, 90%
Nicole Oquendo, Katie Darby Mullins, E. Kristin Anderson) Room 206B, Henry B. believe in God or a higher power, and teens ever seek to make sense of
González Convention Center, Meeting Room Level the world and understand their own spiritual identity. Should we be
depicting religion/spirituality as a normal part of our character’s lives?
What topics are considered worthy of poetry? Poets and editors Why not or why and how?
discuss how pop culture poems are essential contributions to the
broader landscape of contemporary poetry. From found poetry to
R128. Translating the Untranslatable: A Reading of
odes and confessional work, the panelists will share how they’ve
International Experimental Poetry. (Larissa Shmailo, Marc Vincenz,
incorporated topics ranging from David Bowie and Star Wars to Saved Hélène Cardona, Michelle Gil-Montero, Jennifer Kwon Dobbs) Room 211,
by the Bell and Stevie Nicks into their poetry and they’ll discuss ways Henry B. González Convention Center, Meeting Room Level
for writers to both embrace pop culture and place pop poems with
literary journals and presses. From the manifestos of Breton to the wordplay of Stein to the
fantastical lines of Borges, avant garde movements have always driven
poetry into revolutionary directions. This panel offers a panoramic
R124. Photography and Poetry | Dynamics of Word and Image.
(Forrest Gander, Anna Deeny Morales, Valerie Mejer, Daniel Borris) Room 207, view of international experimental poetries by noted world translators
Henry B. González Convention Center, Meeting Room Level from French, German, Korean, Russian, and Spanish (Latin
American) poets of the 20th and 21st centuries. Intercultural and
This panel unites artists from diverse cultural backgrounds and intersectional issues in translation will be discussed as panelists read
disciplines, including photography, poetry, painting, translation, and from a range of avant poetries.
the performing arts. Each participant has collaborated in one way or
another to push the boundaries of those disciplines by juxtaposing
R129. Beyond Academia: Teaching Strategies for the
photographic image and poetic text. In this panel, we will focus on Community Classroom. (Kimberly Grey, Mitchell L. H. Douglas, Jill
this specific dynamic between photography and poetry, addressing McDonough, Rebecca Lindenberg, Jason Koo) Room 212, Henry B. González
issues such as the processes involved in their making, juxtaposition, Convention Center, Meeting Room Level
and interpretation.
Five teachers of creative writing share their pedagogical approaches
to teaching incarcerated people, disenfranchised youth, continuing
60education adults, and working professionals. Each panelist will respond R134. AWP Program Directors’ Plenary Assembly. Room 214D,
to the questions: what are the similarities and differences between Henry B. González Convention Center, Meeting Room Level
teaching academic and community workshops? How do you best fulfill All AWP program directors should attend this meeting to represent
your community’s writing needs? What challenges have you faced, their programs. Kim Chinquee and Stephanie Vanderslice, Co-Chairs of
successes have you celebrated? How can we make the writing workshop the Professional Standards Committee, will lead a discussion on AWP’s
accessible to all? plans for the year ahead. In plenary and in the breakout sessions that
follow immediately, directors will also discuss the ongoing revision of
R130. What’s Poetry Got to Do with It?: Creative Writing in the the Hallmarks and the increasing funding challenges facing writing
Wider World. (Samantha Fain, Chloe Martinez, Helena Mesa, Annie Finch) programs at every level.
Room 213, Henry B. González Convention Center, Meeting Room Level
Poetry is a practice of introspection and transformation. How can R135. Not So Foreign: Writing in More Than One Language.
poetry help us to be more introspective and transformative in our (Antonio Ruiz-Camacho, Simon Han, Meng Jin, Novuyo Rosa Tshuma,
nonpoetic lives? Four panelists discuss the uses and effects of poetic Xavier Navarro Aquino) Room 216A, Henry B. González Convention Center,
engagement in four different contexts: a psychology study, a prison Meeting Room Level
justice organization, a religious studies classroom, and a printmaking For writers who publish primarily in English, reflecting a multilingual
workshop. Panelists will share techniques for bringing poetry into world can be a fraught process, traditionally involving the
nonpoetic settings in productive ways. accommodation of English-only speakers. How are writers of English-
language fiction and nonfiction today centering characters who speak
Thursday
R131. Black Voice—Cultivating Authentic Voice in Black Writers. and think in languages other than English? Drawing from questions
(Brendan Kiely, Daniel Summerhill, Quintin Collins, Raych Jackson) of not only craft but also the personal and political, five panelists
Room 214A, Henry B. González Convention Center, Meeting Room Level discuss their innovative approaches to incorporating multiple
Does it smack of racism or classism to demand that these students languages in their work.
[black students] put aside the language of their homes and
communities to adopt a discourse that is not only alien, but that has R136. How to Pitch, Land, and Deliver a Successful Interview to
often been instrumental in furthering their oppression? How can we Market Your Work. (Yvette Benavides, David Davies, Lilly Gonzalez,
teach students of color the art of writing while also encouraging the Clay Smith) Room 217A, Henry B. González Convention Center,
use of their native discourse, their native voice? How do we foster Meeting Room Level
voice if students aren’t invited to the table? Using Whitman, Hughes, These days, writers must promote their own work. Interviews can be
and Kendrick Lamar, we discuss. as critical to this process as a positive review or a robust social media
following. What can writers do to improve their odds of being noticed
R132. Writing Beyond the Gate: Reaching Voices from Outside by an interviewer and help along an effective and memorable interview?
the Academy. (Julia Bouwsma, Michelle Peñaloza, Nikki Zielinski, A diverse panel of interviewers from a variety of contexts, including
Tessa Hulls, Cynthia Dewi Oka) Room 214B, Henry B. González Convention public radio, book festivals, and review publications will discuss the
Center, Meeting Room Level how-to’s of successful interviews that spur a writer’s marketing platform.
Systemically, the academy controls access to literary voices and
platforms through an infrastructure that includes publishing, R137. A Place at the Table: Nurturing an Inclusive Literary
networking, course adoption, and financial and other institutional Ecosystem. (Rich Levy, Niki Herd, Kaj Tanaka, Ricardo Nuila, Lupe Mendez)
support. Writers from outside academia discuss how to disrupt this Room 217B, Henry B. González Convention Center, Meeting Room Level
power dynamic, navigate nontraditional paths, promote access to How do we ensure that our literary communities reflect the diversity
under-heard voices, and otherwise destabilize a system that co-opts and of our towns and that everyone has a place at the table? In this panel,
restricts the spirit of resistance and revolution historically characterized writers connected with Inprint—a Houston-based literary arts
by creative writing. nonprofit—will discuss the various Inprint community writing activities
they lead for senior citizens, the incarcerated, healthcare providers, the
R133. Interrogating the Racial Past Through Research-Based Latinx community, and more, expanding the notion of who is a writer
Poetry. (Nzadi Keita, Herman Beavers, Len Lawson, Henk Rossouw) Room and nurturing an inclusive literary ecosystem.
214C, Henry B. González Convention Center, Meeting Room Level
Confederate monuments fall, on the one hand. Klansmen march R138. I’d Rather Break Your Heart: A Tribute to Poet James Tate.
openly, on the other. As we’re gripped again by tensions we haven’t yet (Dorothea Lasky, Jaswinder Bolina, Nikki Wallschlaeger, Jennifer L. Knox,
outgrown—as nation, as world—interrogating the racial past seems Matthew Zapruder) Room 217C, Henry B. González Convention Center,
key to understanding and withstanding our present circumstance. Meeting Room Level
Five poets of varied backgrounds explore their strategies to expose old “I love my funny poems, but I’d rather break your heart. And if I can do
debts, revivify forgotten voices, question motivations, and fracture both in the same poem, that’s the best.” —James Tate, 1943–2015. Five
and reset the broken language of the culture, to find within the poets read and explore the work, life, and craft of James Tate, whose
past a way forward. funny, heartbreaking, and chilling poems thwarted expectations of what
poetry is and does. As Tate’s distinctive style made imitation impossible
and even embarrassing, our panelist discuss the influence of one of
America’s most celebrated surrealists on their widely diverse styles.
Panel Pedagogy Reading
61R139. When Your Homeland Is Called a Crisis: Tejanas on Zero 10:35 a.m. to 11:50 a.m.
Tolerance. (Stephanie Elizondo Griest, Cecilia Balli, Michelle Garcia,
Macarena Hernandez) Room 217D, Henry B. González Convention Center, R144. Intentionally Inclusive: Growing Your Independent Press,
Meeting Room Level Journal, and Organization. (Dave Housley, Kaitlyn Andrews-Rice, Cortney
Charleston, Karissa Chen, Christopher Gonzalez) Room 006A, Henry B.
What happens when your homeland—and muse—becomes a major González Convention Center, River Level
international news story? What issues of power and agency come
into play when politicians push for headlines and outside journalists The indie lit scene is stronger than ever, but many journals, presses,
claim authority to the narrative? Using the so-called “crisis” in the and organizations start strong, then fade away. The editors
borderlands as a case study, four acclaimed Tejana essayists will discuss of Barrelhouse, The Rumpus, and Split Lip magazine discuss
the intersection of journalism and memoir that emerges when you are growing an organization with purpose, especially in terms of diversity,
both an observer and a native of a place–and how to do justice to its inclusion, and community-building. These goals are smart business
complexities. models not obligations. For example, are submission fees an access
issue? How can an editorial board be introspective when reflecting
R140.“This Possibility of You”: Bi+ Visibility in Poetry. (Emilia on diversity and inclusivity?
Phillips, Ruth Awad, Marcelo Hernandez Castillo, Trace Peterson, Rosebud Ben-
Oni) Room 302, Henry B. González Convention Center, Ballroom Level R145. On Grading Creative Writing: Process, Product, and Talent.
(Bryn Chancellor, Rachel M. Hanson, Susan McCarty, Chun Ye, CJ Hauser)
June Jordan’s “Poem for My Love” marvels in “this possibility Room 006B, Henry B. González Convention Center, River Level
of you,” the ungendered beloved. This panel will explore the
Thursday
complex possibilities for the ways that bi+ sexualities—that is, any Creative writing is a serious art that demands the study of craft, close
nonmonosexuality—are rendered and/or erased in poetry and the reading, thoughtful discussion of literature, and much practice, all of
literary community. What defines a bi+ poetics? We will look at historic which are dependent upon the time to learn one’s own creative process.
and contemporary examples, and participants will discuss the ways Grading this work is an especially difficult task. The practicing writers
they intersectionally engage bi+ desire, identity, and experiences and teachers on this panel will discuss their approaches to grading
in their own writings. creative writing in ways that rewards students’ processes and talent,
while maintaining high standards for the art of creative writing.
R141. Worry about It Later: Strategies to Finish What You Start.
(Juan Martinez, Christine Sneed, Sarah Kokernot, Kendra Fortmeyer, Amy R146. He Done Her Wrong: The Redemptive Value of Reframing
Gentry) Room 303, Henry B. González Convention Center, Ballroom Level Violence in Story. (Marivi Soliven, Ari Honarvar, Carolyne Ouya, Anne
Bautista) Room 006C, Henry B. González Convention Center, River Level
Starting is often the easy part—it’s what comes after that’s so difficult
for many writers. In this panel, we’ll discuss strategies for completing Panelists discuss how they flip violence to reframe the narrative of
the first draft, along with our experiences of sending out and eventually victimhood and empower women in marginalized communities. In
publishing work that in some cases went through many drafts. We’ll also Nadie Me Verá Llorar Cristina R. Garza reveals how popular language
discuss how to deal with self-doubt and how to write through potential defined insanity in 1920s Mexico. Interpreting domestic violence (DV)
problems. Lastly, we’ll share advice about when to set a project aside. calls spurs Marivi Soliven to write The Mango Bride and advocate
for immigrant DV survivors. Ari Honarvar eases Iraqis’ PTSD in her
R142. Westward, Ho! Manifest Destiny Reconfigured. (Emma Refugee Women’s Drum Circle and Carolyne Ouya empowers African
Perez, Emma Perez, Emma Perez, Lorraine Lòpez, Lynn Pruett, Margaret Verble, DV survivors via spoken word.
Kathryn Locey) Room 304, Henry B. González Convention Center, Ballroom
Level R147. Difficult Muses and Damaged Gods: On Writing Birthed
By examining the post-Civil War Cherokee Nation West, the Battle of from Darkness. (Karen McElmurray, Lee Ann Roripaugh, Luisa Igloria, Lisa
Santiago Bay, the Spanish conquest of California, and the Alamo in their Chavez, Natanya Pulley) Room 006D, Henry B. González Convention Center,
fiction, panelists place women in these violent narratives of westward River Level
expansion and conquest, upending the traditional view of women as This panel of women writers will consider the power of archetypal
victims or ciphers. Additionally, the novelists describe the liberties, voices from our childhoods. How do those voices inform who we
opportunities, obligations and pitfalls of writing, researching, and are and who we become on the page? With what alchemy do writers
publishing historical fiction. transform these voices into art when they are also sources of trauma?
What happens to our work when remembered voices—sources of both
R143. Demystifying Distribution and the Publishing Process: Tips inspiration and hurt—pass from our lives? As artists, is it even possible
and Tricks for Small Press Authors, Sponsored by SPD and CLMP. for us to (and should we even try to) transcend our most difficult muses
(Trisha Low, Andrea Abi-Karam) Room 305, Henry B. González Convention and damaged gods?
Center, Ballroom Level
Distribution might seem to be corollary to more forward-facing R148. The Role of Women Editors with Small Presses and
publishing tasks such as marketing and publicity, but is in fact a crucial Literary Journals. (Pam Uschuk, Kristina Marie Darling, Jennifer Franklin,
part of any book’s life. In this panel, learn simple tips and tricks to best Patricia Killelea, Mimi Khúc) Room 007A, Henry B. González Convention
situate your book from prepublication to print, and to expand its reach Center, River Level
to booksellers, readers, and other writers to get it into the hands of those Small presses and literary journals offer women editors democratization
who would love to read it! of publishing, roles as female gatekeepers, and greater control over
62product. Four women editors at small presses and literary journals will risks and give more attention to authors than larger houses can. This
discuss their own experiences, focusing on their roles in promoting and panel, featuring editors, marketers, and authors, will answer questions
supporting feminist and underrepresented voices. They will also discuss about publishing with a university press and what to expect when
the type of submissions they are looking for, their editorial process, and working with one.
best practices for editors and writers.
R155. Applying for an Individual NEA Creative Writing
R149. Saying the A Word: The Rewards and Challenges of Writing Fellowship. (Katy Day, Jessica Flynn, Amy Stolls) Room 207, Henry B.
about Abortion. (Rajpreet Heir, Emily Heiden, Kassi Underwood, Jennifer González Convention Center, Meeting Room Level
Percy, Kathy Z. Price) Room 007B, Henry B. González Convention Center, River
Want to know what the National Endowment for the Arts fellowships
Level
are all about? Staff members from the NEA’s Literature Division discuss
Have you or someone you know experienced abortion and wanted to and advise on all aspects of the program, including how to submit an
write about it, but stopped yourself? This panel will discuss the fact that application, how winning poets and prose writers are selected, and the
writers even in 2019 face silencing and stigma on this topic and address ways in which the NEA supports writers through its other initiatives
the benefits of breaking barriers to tell true, nuanced stories. Writers and grantmaking. Plenty of time will be allotted for questions.
of varying ages and races discuss what it was like to write, pitch, and
publish memoir, essay, and articles about abortion; the walls they hit in R156. The Evolution of Sudden to Microfiction: The Anthologies
the process; and the upside of writing their tales without fear. That Got It Started. (James Thomas, Marcela Fuentes, Venita Blackburn,
Sherrie Flick, John Dufresne) Room 209, Henry B. González Convention
Thursday
R150. A Tribute to David Baker in his 25th Year as Poetry Editor Center, Meeting Room Level
for Kenyon Review. (Meghan O’Rourke, T.R. Hummer, Linda Gregerson, Sudden, flash, micro. Panelists discuss how these structural changes
Cintia Santana, Reginald Dwayne Betts) Room 007C, Henry B. González
came to be, in successive anthologies, over 30 years. Now “flash fiction”
Convention Center, River Level
is a generic term, respected for what can be done in a thousand words.
On the 25th anniversary of his appointment as Poetry Editor of Kenyon Panelists include the coeditor of all three Norton anthologies, anthology
Review, and in recognition of his broad contribution to the world of contributors, an associate editor, and the editor of Flash!: Writing the
letters, this panel celebrates the writing, teaching, and mentorship of Very Short Story. The panel will read from the anthologies and provide
David Baker. A renowned poet and gifted editor, Baker is the author of oversight and insight into a small part of a big literary history.
seventeen books, most recently Swift: New and Selected Poems. These
five poets reflect the wide range of aesthetics published in Kenyon R157. AWP Program Directors’ Southwest Council. Room 210A, Henry
Review during Baker’s storied editorial career. B. González Convention Center, Meeting Room Level
If you are a program director or codirector of an AWP member
R151. The Evolution of Truth: How Nonfiction Has Changed over creative writing program in the following regions, you should attend
Time. (Mia Herman, Patricia Horvath, Phillip Lopate, Lee Gutkind) Room 008,
this session: Arizona, Colorado, Kansas, Missouri, Nevada, New
Henry B. González Convention Center, River Level
Mexico, Oklahoma, Texas, and Utah. This breakout session will begin
Due to its unconventional evolution, many words get tossed around immediately upon the conclusion of the Program Directors Plenary
when talking about creation nonfiction, including essay, memoir, Assembly, so we recommend that you attend the Plenary Assembly first.
narrative, and reportage. In this panel, attendees will hear from creative Your regional representative on the AWP Board of Trustees, Ryan Stone,
nonfiction writers and editors as they recall their first encounters with will conduct this meeting.
the genre and reflect on how it has changed over time, thereby enriching
our understanding of the genre’s complicated history and how that R158. Tone, Voice, and Mood: Not Just for Angsty Teens. (Kyle V.
history informs our writing today. Hiller, Suma Subramaniam, Jenn Bailey, Diane Telgen, Jay Whistler) Room
210B, Henry B. González Convention Center, Meeting Room Level
R152. Adaptation: Transform Your Novel into a Marketable So often, agents, editors, and well-meaning critique partners or beta
Screenplay. (Leslie Kreiner Wilson, Andrea Baltazar, Andres Orozco, Tom
readers provide vague feedback along the lines of “the voice on this
Provost) Room 205, Henry B. González Convention Center, Meeting Room
piece doesn’t feel genuine” or “this doesn’t strike the right tone,” without
Level
any specifics to back up their statements, as if knowledge of tone, mood,
This panel will show novelists exactly what they need to do when and voice is built into a writer’s DNA. In this craft-based session, the
translating their work into a script for screen. Writers will leave with panelists define these ambiguous concepts using concrete examples,
concrete strategies such as telescoping plot as well as sharpening theme allowing writers to revise their work in a deeper way.
and character arc in order to transform their fiction into a fantastic film.
R159. High Style and Misdemeanors: The Virtues and Vices of
R154. Finding Your Home at a University Press: What Literary Elevated Prose. (Lauren Alwan, Anita Felicelli, Olga Zilberbourg, Lillian
Authors Need to Know. (Elise McHugh, Tiffany Midge, Adelia Humme, Howan, Aatif Rashid) Room 211, Henry B. González Convention Center,
Norma Elia Cantú, Anna Weir) Room 206B, Henry B. González Convention Meeting Room Level
Center, Meeting Room Level
The hallmarks of high style—elevated voice, obsession with the
Finding a publisher often seems like a daunting task. A university press pictorial, self-consciousness, and poetic devices—are rooted in Flaubert
may be the perfect fit. Many publish and promote creative work— and European realism. Can writers whose work concerns immigration
including novels, poetry, and memoir—that larger presses might pass and displacement embrace a stylistic approach that has historically
on. Because of their size and focus, university presses can take more been disengaged and apolitical? Authors of fiction that centers on
63R159. continued
immigration, intergenerational stories, and belonging, read their work recommend that you attend the Plenary Assembly first. Your regional
and discuss the intersection of elevated prose and socially and politically representative on the AWP Board of Trustees, Kris Bigalk, will conduct
engaged work. this meeting.
R160. Cripping/Deafing the Book Tour. (Leah Lakshmi Piepzna R165. AWP Program Directors’ Mid-Atlantic Council. Room 214D,
Samarasinha, Aurora Levins Morales, Naomi Ortiz, Meg Day) Room 212, Henry Henry B. González Convention Center, Meeting Room Level
B. González Convention Center, Meeting Room Level
If you are a program director or codirector of an AWP member
Many of us have been taught that in order to tour and promote our creative writing program in the following regions, you should attend
work we must be on the road for weeks, saying yes to every opportunity. this session: Delaware, District of Columbia, Kentucky, Maryland,
This model is inaccessible for many disabled, chronically ill, Deaf, and Pennsylvania, Virginia, and West Virginia. This breakout session will
neurodivergent writers (as well as other writers who parent, work, or begin immediately upon the conclusion of the Program Directors
just get tired). On this panel, four disabled and Deaf writers share the Plenary Assembly, so we recommend that you attend the Plenary
ways we’ve cripped and Deafed the book tour, innovatively publicizing Assembly first. Your regional representative on the AWP Board of
without destroying our bodies or submitting to a lack of access. Trustees, Kathleen Driskell, will conduct this meeting.
R161. AWP Program Directors’ Western Council. Room 213, Henry B. R166. Making Place in Hybrid Tongues. (Nadia Misir, Minerva
González Convention Center, Meeting Room Level Laveaga Luna, Sehba Sarwar, Sorayya Khan, Torsa Ghosal) Room 216A, Henry
B. González Convention Center, Meeting Room Level
If you are a program director or codirector of an AWP member creative
Thursday
writing program in the following regions, you should attend this This panel highlights the work of writers who explore remembered
session: Alaska, Alberta, British Columbia, California, Hawaii, Idaho, and imagined attachments with place. Featuring five women of color
Manitoba, Montana, Nebraska, North Dakota, Oregon, Saskatchewan, whose living and writing transcend national borders and literary
South Dakota, Washington, Wyoming, and the Pacific Rim. This genres, the panel asks whether the places we navigate demand their
breakout session will begin immediately upon the conclusion of the own hybrid literary forms. Writers who wear multiple tags—novelist,
Program Directors Plenary Assembly, so we recommend that you attend memoirist, poet, translator, critic—read from new work. These works
the Plenary Assembly first. Your regional representative on the AWP embody aesthetic and political choices involved in representing
Board of Trustees, Susan Rodgers, will conduct this meeting. locales across genres.
R162. AWP Program Directors’ Northeast Council. Room 214A, Henry R167. A Foot in the Door: How to Break into the Book Industry
B. González Convention Center, Meeting Room Level Post-MFA. (Elizabeth DeMeo, Anthony Blake, Allison Conner, Jenny Tinghui
Zhang, Lydia Melby) Room 217A, Henry B. González Convention Center,
If you are a program director or codirector of an AWP member
Meeting Room Level
creative writing program in the following regions, you should attend
this session: Connecticut, Maine, Massachusetts, New Brunswick, This panel will bring together recent graduates of creative writing MFA
Newfoundland and Labrador, New Hampshire, New Jersey, New programs who are now beginning careers within the book industry—at
York, Nova Scotia, Quebec, Rhode Island, Vermont, and Europe. This Tin House, Open Letter, Jack Jones Literary Arts, and Adroit Journal.
breakout session will begin immediately upon the conclusion of the We’ll discuss what drew us towards this industry, and outline steps you
Program Directors Plenary Assembly, so we recommend that you attend can take within MFA programs (lit mag work, internships, publishing
the Plenary Assembly first. Your regional representative on the AWP reviews/interviews) to prepare. We’ll also discuss how to market
Board of Trustees, Kim Chinquee, will conduct this meeting. yourself for a publishing job, and what it’s like to work in publishing
with an MFA.
R163. AWP Program Directors’ Southern Council. Room 214B, Henry B.
González Convention Center, Meeting Room Level R168. The Futures of Documentary and Investigative Poetries.
(Solmaz Sharif, Erika Meitner, Craig Santos Perez, Tyehimba Jess, Philip
If you are a program director or codirector of an AWP member
Metres) Room 217B, Henry B. González Convention Center, Meeting Room
creative writing program in the following regions, you should attend
Level
this session: Alabama, Arkansas, Caribbean Islands, Florida, Georgia,
Louisiana, Mississippi, North Carolina, South Carolina, and Tennessee. Investigative or documentary poetry situates itself at the nexus between
This breakout session will begin immediately upon the conclusion of the literary production and journalism, where the mythic and factual,
Program Directors Plenary Assembly, so we recommend that you attend the visionary and political, and past and future all meet. From doing
the Plenary Assembly first. Your regional representative on the AWP recovery projects to performing rituals of healing to inventing forms,
Board of Trustees, Stephanie Vanderslice, will conduct this meeting panelists will share work (their own and others’) and discuss challenges
in docupoetic writing and its futures: the ethics of positionality,
R164. AWP Program Directors’ Midwest Council. Room 214C, Henry B. appropriation, fictionalizing, collaboration, and political engagement.
González Convention Center, Meeting Room Level
R169.“Girlness” as Stance in the Work of Five Contemporary
If you are a program director or codirector of an AWP member creative
Authors. (Alexandra van de Kamp, Patricia Spears Jones, Megan Peak,
writing program in the following regions, you should attend this Veronica Golos, Marisela Barrera) Room 217C, Henry B. González Convention
session: Illinois, Indiana, Iowa, Michigan, Minnesota, Ohio, Ontario, Center, Meeting Room Level
and Wisconsin. This breakout session will begin immediately upon
the conclusion of the Program Directors Plenary Assembly, so we Join a panel of four poets and one fiction writer, each with a distinct
stylistic approach, as they discuss how their work is taking “girlness” by
64storm, expanding it as a stance in bold ways. These writers, from a debut genre challenges to come. This interactive panel will provide narrative
poet to seasoned authors and literary arts activists, push against the and poetic activities that center a more inclusive rhetoric and expand
expected “girl/women/gurl/hood,” re-examining vulnerability, power, the compositional toolbox. We will model the critical reflection on
and the sources of power in breakthrough ways, using craft, positionality and power that is integral to transferable genre awareness.
subject matter, style, visual, and linguistic choices.
R175. Love Poems in Place: Ecotone Poets in Fourteen Lines.
R170. That’s Hot: Women Poets Take Back the Sonnet. (Patricia (Kathryn M. Barber, Anna Maria Hong, Maryann Corbett, V. Penelope Pelizzon,
Smith, Sara Henning, Kim Addonizio, Moira Egan) Room 217D, Henry B. Chad Abushanab) Room 305, Henry B. González Convention Center, Ballroom
González Convention Center, Meeting Room Level Level
For centuries, the sonnet has been championed as a masculine poetic Ecotone’s Fall 2019 Love Issue features poems in 14-line forms,
form. From Petrarch’s Laura to Shakespeare’s Dark Lady, women have including sonnets, rondels prime, and brefs double. In this reading
been situated as objects of desire not artistes of innovation. Female and conversation, contributors will share poems and will speak to the
poets largely wrote under the shadow of tradition. Recently, the sonnet enduring nature of these forms and the transformations they and others
has become a hotbox of modernization, and women are at the center. In have worked upon them. What does it mean to write a love poem in
this panel, five award-winning female poets explore the sonnet and its place, or to place? How do such forms allow us to reimagine place—our
radical prospects. home landscapes, regions in ecological crisis? What might poets do with
these forms next?
R171. Poetry of the Extreme and the Elemental. (Beth Bachmann,
Thursday
Nick Flynn, Brenda Hillman, Deborah Miranda, Major Jackson) Room 301, R175A. Wordpeace and Naugatuck River Review Reading.
Henry B. González Convention Center, Ballroom Level (Lori Desrosiers, Lauren K. Alleyne, Monica Barron, Lisa Taylor, Ciona Rouse)
The Michener Center for Writers Stage, Exhibit Halls 3-4, Henry B. González
William Carlos Williams described the writing of Marianne Moore
Convention Center
as encompassing the vastness of the particular: “So that in looking at
some apparently small object, one feels the swirl of great events.” In this Wordpeace.co will be publishing its fall/winter 2019/20 issue, which
panel, five poets will examine intersections of the Extreme with the five contains poetry, prose, and artwork in conversation with current issues.
classical elements (water, fire, air, earth, ether). With an aim toward Wordpeace is an online journal dedicated to the promotion of peace and
environment and the cosmic/microcosmic, they will show and discuss social justice. Naugatuck River Review’s 11th annual narrative poetry
the ways these two forces intertwine in their work. contest is being judged by Lauren K. Alleyne. Lauren K. Alleyne will be
reading, as well as editors Monica Barron, Lisa Taylor, Ciona Rouse, and
R172. The Poetics of Anzaldúa in Contemporary Poetry. (Sebastian contest winners and writers from both journals.
Paramo, Natalie Scenters-Zapico, Ángel García, Casandra López, Joseph Rios)
Room 302, Henry B. González Convention Center, Ballroom Level R175B. Book Launch Reading for Madville’s New Anthology,
Runaway. (Luanne Smith, Michael Gills, Lee Zacharias) The University of
Gloria Anzaldúa’s work in Borderlands/La Frontera considers
Texas at Austin Stage, Exhibit Halls 3-4, Henry B. González Convention Center
hyphenated identities and experience by engaging ancestral histories,
violence, and the impetus behind crossing/transcending these borders Introducing Madville’s 2020 prose anthology, Runaway. Editors Luanne
of identity/experience. What does it mean to risk joy in pursuit of Smith, Lee Zacharias, and Michael Gills talk about their favorite stories
happiness and write into the red ink? Our panelists include writers from the anthology followed by readings from some of the authors
who engage with Anzaldúa’s poetics and how it informs their own included in the collection.
respective crafts.
12:10 p.m. to 1:25 p.m.
R173. Unmasking the Masked Self: The Complex Role of Persona
in Memoir. (Jill Christman, Daisy Hernandez, Sue William Silverman, Dinty R176. Yoga for Writers. (Alysia Sawchyn) Room 004, Henry B. González
W Moore, Ira Sukrungruang) Room 303, Henry B. González Convention Center, Convention Center, River Level
Ballroom Level
Join a certified yoga instructor for a gentle, one-hour yoga and
The use of a constructed persona in the essay hails from Montaigne, meditation practice, appropriate for practitioners of all levels and
but persona in memoir is more complicated. If memoirists are telling abilities, focusing on stretching and mindfulness for writers. Please
the honest truth of ourselves, is it ever truthful to hide behind a mask? come wearing comfortable street clothes; mats and yoga apparel are not
How can a memoirist be honest and artful at the same time? This panel necessary.
of award-winning memoirists will explore the intricate braid of voice, Directions from the Main Lobby: Go past the administration
style, point-of-view, emotional authenticity, and narrative design to see building, turn right into the hallway and proceed past the restrooms and
if we really can tell the truths about ourselves, and if so, how. Grab & Go area towards the West Lobby, take a right and go inside the
Lila Cockrell Theatre, take the elevator to the River Level, and arrive at
R174. Beyond Research: Creative Writing Practices in the Room 004.
Composition Classroom. (Dan Lau, Frankie Rollins, Addie Tsai, Samuel Directions from the Meeting Level: Take any elevator to the River
Campbell, TC Tolbert) Room 304, Henry B. González Convention Center, Level area, proceed past rooms 007–006 and exit the building, keep
Ballroom Level going towards the Lila Cockrell Theatre and enter the theater on your
As composition continues to push for a STEM-oriented curriculum right, walk straight until you arrive at Room 004.
rooting the writing practice in research and hard sciences, we are
under-preparing our college students for the many rhetorical and
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