The final reading of the semester—the entire year, really—was held in the Chapel, the night before graduation. It was the perfect opportunity for us to re-familiarize ourselves with our classmates’ work. After a year in each other’s company, we can identify everyone in our humble cohort by subjects and genres: tennis, addiction, magic realism, speculative fiction, dinosaurs.

But the graduating students led hermit-like existences while finishing their theses. And our cohort was divided into separate workshops. Hence, we might have not seen each other’s work. For some, the reading affirmed their thesis projects, while for others, it was a chance to try something new.

It had been too long. The reading was so well-attended that we had no choice but to move from Cafe Anna, where all of our readings went down, to the Chapel, already set up for graduation. Under the warm lights, we were all stars.

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Earlier this month, the Association of Writers and Publishers hosted its annual conference in Tampa, Florida.

For over 15,000 attendees, the AWP Conference & Bookfair is the literary event in America: four straight days of books, book deals, interacting with editors from Big 5 publishing houses and tiny literary magazines alike, networking, lectures, readings, and parties. For the Vermont College of Fine Arts, it was the ideal place to launch Everyday Chimeras, the latest issue of Hunger Mountain. For the students of VCFA who could attend, it was a too-brief respite from the endless winter. And for student Cammie Finch, it was an eye-opening festival of wonder—a place where everyone could geek out over writing and reading.

In a post on her personal blog, Cammie extols the joys of being surrounded by literary geeks, reflects on how AWP impacted her own goals, and shows off some cool swag. She writes:

I loved AWP. Really. Really really loved it. It’s hard to fully imagine the conference without experiencing it. But let me try my best. It’s 15,000 writers and teachers and students and editors and publishers and logophiles and bibliophiles, all geeking out over writing and reading. It’s getting the nerve to go up to the Paris Review or Guernica or [insert prestigious journal here], shake hands with the editor, and have confidence in your own work. It’s about breathing in the same room with the poets and writers you read online or follow on Twitter or whose likeness you’ve taped to the walls of your bedroom. It’s about finding a community of people who understand why you do what you do. It’s about supporting yourself and others and literature itself.

Melissa Febos and Donika Kelly (our Hunger Mountain guest editors) IN REAL LIFE!

Yes, the conference was chaotic and a total sensory overload and exhausting and the food wasn’t great and was very overpriced,  but it was worth it to work at the book fair all day long…

…so I could attend panels and craft lectures on the things that are important to me: “The Next Step: Teaching & Writing at a Literary Center“, “Work Work Balance: When a Day Job Pays More Than the Bills,” “Writing Bad Ass and Nasty Women,”  and “The Real Mother of All Bombs: Reconsidering John Hersey’s Hiroshima.”

…so I could see dear writing mentors of mine again (Robert James Russell, Allegra Hyde, Alex McElroy, Amelia Martens, Britton Shurley, to name a few)

…so I could leave my footprints on the dry Tampa sidewalks.

I’ve decided that I will attend AWP every year from this day forward until I can no longer travel or walk.

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Aaaaand we’re back!

After our first semester of intense writing, workshops, readings, and getting to know each other, we deserved a good break. And we got one: most of us went home (to points everywhere), while some of us stayed in town, soaking up the experience of a frigid and beautiful Vermont winter. To get a sense of how we experienced this lovely break, your humble chronicler asked fellow students of VCFA’s Writing and Publishing program exactly what they did, what they read, and what they wanted to write for our Stage and Screen course.

Here are some illuminating answers.

What did you do over break?

Mariah Hopkins: I’ve been learning Spanish for my Fulbright application.

Desmond Peeples: Cared for my sick dog. She just had her second knee surgery yesterday. She’s very resilient, and she looks really good with her legs shaved.

Paul Acciavatti: We went to Montreal. Mostly it was my wife’s 35th birthday and her friends from college gathered to celebrate and eating and drinking happened. There is a stretch in Petite-Italie which increasingly features a bunch of halal butchers and Syrian restaurants like Alep (French for “Aleppo”). We ate in Le Petit Alep, we had the three-course tasting menu for $31 CAD each ($25) and it went on and on and on. We also ducked into the Maison d’Italie on a whim (my cousin was also there and she is wicked into the heritage). So it was definitely a feeling of MTL as an island of multiculturalism in the great white north.

Jad Yassine: I had two wisdom teeth extractions.

Kayleigh Marinelli: I got really sick and thought it would be a really good idea to go to New York City and got stuck on the NJ train for an hour and a half. I still got to see the dinosaurs at the Natural History Museum, though.

Sarah Leamy: I wrote a novel.

What books did you read?

Samuel Kolawole: I was reading short stories from journals—translated short stories from Words Without Borders. I’m starting to enjoy translated stories. Sometimes when the language is translated from the original into English, it still retains its energy.

Lennie DeCerce: The Chronology of Water by Lidia Yuknavitch. It’s the best book I’ve read in years.

Gina Tron: Misfit’s Manifesto by Lidia Yuknavitch on my flight to Iceland, which kept me grounded.

Mariah Hopkins: The Underdogs, written in the 1930s by Mariano Azuela. It’s about his experiences during the Mexican Revolution.

Bianca Vinas: Murder on the Orient Express. I’d never read anything by Agatha Christie. I don’t know if I liked it.

If you could make any movie of your dreams, what would it be about?

Jennifer Gibbons: A remake of “All About Eve” with Susan Sarandon in Bette Davis’s role, Jennifer Lawrence as Eve Harrington, Tim Robbins in Gary Merrill’s role, and Cherry Jones in Celeste Holm’s role.

Lindsey Brownson: Some kind of modern-day reimagining of Stephen King’s “Carrie,” but with the Internet.

Lindsay Gacad: When I imagine what I’m writing, it’s a mix between “The Godfather” and “The Joy Luck Club.”

Cammie Finch: An experimental short film called “Fly:” a stationary camera focuses on a sporadic fly covered in red paint in a room, sparsely inhabited by humans, but no humans are currently present. The fly is hitting walls, hitting windows, trapping itself in blinds and lamp shades. The fly leaves a mark on each surface it hits. Post-production edits turn the shot psychedelic colors, then negative, then black and white, then sepia, etc. Music changes every minute or two, as well—from hip-hop to classical to electronic to world music to percussion to country, sometimes layering over each other—in order to change emotions of viewers. At the end, the fly is zapped by the overhead light and falls to the ground. Fade to black light. The “marked surfaces” glow. Fade to all black. Zoom in on dying fly, curling into itself. Zoom closer and closer, David-Lynch-style. All music combines together into a maddening wall of sound. Then sudden silence while the fly slowly disintegrates and crinkles to dust.

Sarah Leamy: A thriller/dark comedy based around croquet.

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Sherwin Bitsui’s Flood Song, the poet’s second book, is a hike through the desert at sunset when you don’t know where you’re going. It is equal parts disorienting, beautiful, and full of misdirection: surreal and bordering on the nonsensical, but with enough glimmers of the familiar to bring you back. You follow Bitsui to “a cornfield at the bottom of a sandstone canyon,” into the past, “a blurry splotch of red crosshatched with neon light,” while “black ants drift through the throats of wounded stags.”

Bitsui was born in Fort Defiance, Arizona, on the Navajo Reservation, a member of the Todich’ii’nii (Bitter Water Clan), born for the Tl’izilani (Many Goats Clan). He came into poetry at the tail end of his teenage years, when he started college at the Institute of American Indian Arts—surrounded by fellow tribal members, an experience which he called “cathartic.” In 2003, his first book Shapeshift was published, followed by Flood Song six years later. Along the way he’s racked up awards, grants, and fellowships.

This Friday, Bitsui will be reading at VCFA’s Writing and Publishing program, reading alongside faculty member Trinie Dalton. He’ll also be making time to discuss his work with students, before and after the reading. We’re looking forward to welcoming him here, a poet who evokes so much surreal imagery, blending into one another, a kinetic force from line to line. If we can

In an interview with Guernica Magazine, Bitsui said: “I feel like I’m a border poet in some ways. I definitely experience several worlds as one… Poetry, structurally, felt similar to the way I thought and the way I perceived the world as a Navajo person. It spoke to me on a very human level where walls cleared away to shared breath and sky.”

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