I’m happy to have poems included in two recently released anthologies:
I’ll be teaching my online course on writing in short and flash forms again this summer! It’s a six-week course offered entirely online through The Loft Literary Center. It starts June 1, and registration is open now!
This class is designed to provide students with an overview of short forms. Flash fiction, micro-memoir, and prose poetry have become quite popular in the world of contemporary literary publishing. These very short new forms are inviting to busy readers, who can devour a wholly satisfying story on the bus ride to work. For writers, “flash” forms provide an excellent opportunity to sharpen our skills, because they require a great deal of restraint and precision. In this class, students will learn and practice the fundamental elements of each ‘micro’ genre (even as we observe how they overlap) by reading published work, as well as writing and sharing our own work.
Over the course of six weeks, writers will produce at least one piece in each of the three micro genres (flash fiction, micro memoir, and prose poetry) of 1,000 words or less. Toward the end, writers will also try their hand at hint fiction, writing a few stories in only 25 words! While this is not an intensive workshop class, students will have the opportunity to discuss their own work on a volunteer basis during supplementary live chat sessions.
I’ve got poetry in the new issues of Crazyhorse, The Laurel Review, and Quarter After Eight this spring! They’re all poems from a new series, including prose poems in Quarter After Eight’s tribute to Baudelaire and The Laurel Review’s special issues devoted to prose poetry.
I’ll be at AWP in Minneapolis this week, participating in a panel with other authors in the Marie Alexander Series on hybridity in the Midwest.
R145. Flat Lands and Open Waters: Reading Hybridity into the Midwest
Room 211 A&B, Level 2
Thursday, April 9, 2015
10:30 am to 11:45 am
The paradigm of form has shifted to include hybrid works such as the poem novella, the lyric essay, the prose poem, and flash nonfiction. How do the challenges and rewards of living in the flatlands yield to a fluidity and hybridity in writing? These Midwestern authors, all published by the White Pine Press Marie Alexander series featuring prose poem and hybrid forms, will read work and discuss the confluence of aesthetics between living/writing from the midlands and having an openness to form.
Here’s the Facebook event!
There is a new review of The Rusted City up on Weave Magazine’s site! An excerpt:
It reads like an extended fairy tale, a modern version of an old-fashioned story in which rust/blood, fear, and pain leave trails on the road to rebirth.
I love this meditation on the cover art, which I had the pleasure of finding and soliciting from artist Sharon Pazner:
The reader enters Rochelle Hurt’s lost kingdom through an empty chair. Her cover illustration, Sharon Pazner’s “Throne,” is a doll-sized, kitchen-chair construction of concrete and bent, tarnished nails that might guard a parking space in any American Rust Belt city. Delicate and tough, homely and haunting, it is a near perfect metaphor for the world Hurt recreates from rough materials and memory.
Read the full review here!
I was recently interviewed by Zoe Gould for Belt Magazine, an online journal of arts & culture in the Rust Belt.
BELT: Your poems do a wonderful job of transforming a city’s decay into beauty without romanticizing the image of America’s failed industrialism. How does The Rusted City set itself apart from other works that exploit or generalize the Rust Belt experience?
Hurt: I felt it was important to write about a Rust Belt city without glorifying urban ruin or falling into nostalgia for the good old days of industry. I was born into decline, so those days were never a part of my life. In the book, I wanted to imagine a world in a miraculous return to the past wasn’t even an option — a world already made from the rust . . . The metaphoric mergers between the characters and the city’s decay prevent the Rust Belt setting from being reduced to a romantic or dramatic backdrop; these characters are their city.
The entire interview can be read here.