113th Annual Conference - Portland, Oregon
Friday, November 6 - Sunday, November 8, 2015

Creative Writing: Process-As-Product

Session Chair: 
Genevieve Kaplan, Independent Scholar
Session 8: Saturday 1:45-3:15pm
Executive Suite (PH-ET)


  1. Jessica Piazza, University of Southern California
    On a daily basis, most of us must resign the flood of world news information with our own worldviews. H.A. O'Neill and I mimiced this process of internalizing news by creating a series of erasure poems from The New York Times. The process of erasure linked our poetic outlook with the more “objective” view of the newsmakers so that the project (Obliterations, forthcoming from Red Hen Press) is doubly collaborative; with each other (making separate poems from the same source) and with the journalists (who originally chose the words we used).
  2. Marci Vogel, University of Southern California
    The sequence of poems is compelled by the historical milieu, life story, and multi-faceted œuvre of late medieval francophone poet, Christine de Pizan. Known for being the first woman in Europe to earn a living through writing, Christine produced an enormous body of work before her self-exile. Merging intertextual poetics, translation studies, and cross-cultural scholarship, this interdisciplinary project proposes alternative ways of engaging with literature as it encourages innovative approaches for creating new literary works.
  3. Mallory Elizabeth Land Smith, University of Calgary, Canada
    My collection Waste contemplates a pervasive sense of economy that measures both the material and the immaterial. Thoughts, feelings, and time can be quantified, treated as a resource, and therefore misused, in accordance with their perceived functions.  Through a series of poems that destroy their forms, this collection sees destruction as an opportunity to re-shape when what we consider waste is viewed as a process, a form and a product in its own qualitative right.
  4. Chris Davidson, Biola University
    This presentation will explore how composing for a particular person (in work that includes the markers of that particular correspondence), rather than for a wide audience, makes texts like these accessible in a way that is unique and evocative. An example from a collaboration between the presenter and the visual artist J.R. Uretsky will be included in the presentation. 
Session Cancelled: