Submit up to ten pages of your translation manuscript as well as a draft of a “pitch” to a publisher. Deborah will give you detailed line editing on your sample, suggestions for improving the pitch, and advice on which publishers to pitch to.
Join us for a reading group featuring Peter Weiss’s novel, Aesthetics of Resistance, which attempts to capture the social and aesthetic life of those who fought fascism during WWII.
In this workshop, Emma Ramadan will lead participants in an interactive discussion where they will give and receive feedback on one another's translation projects. No prior experience with translation is necessary.
In this workshop, graphic artist Leila Abdelrazaq will guide participants in imagining new futures through comics.
In this generative writing workshop led by award-winning poet Safia Elhillo, participants will write poems exploring ideas of naming, language and writing into history’s silences.
Join Workshops for Gaza for our first poetry reading featuring a small fraction of the many U.S.-based poets in solidarity with the people of Gaza: Fady Joudah, Solmaz Sharif, Wendy Trevino, Juliana Spahr and Joshua Clover.
In this generative poetry workshop led by Samah Fadil, participants will consider the relationship between memory and history through a series of writing exercises in which they are asked to write 15 lines of poetry based on particular memories.
In this workshop participants will look at two short stories by Bolano ind Murakami n which the main narrative is interrupted or usurped by another narrative, such as a book within the story.
This workshop will feature voice actor and musician Lenval Brown, who narrated the widely popular role playing game Disco Elysium. Join Lenval for a benefit livestream where he will play the game and talk about his experience as a voice actor for Disco Elysium.
In this creative writing workshop, participants will read and discuss poems from Jacqui Germain's Bittering the Wound, a collection of poetry about the author's participation in the Ferguson Uprising, then create their own creative nonfiction, lyric essays and poems.
This workshop will cover the ins and outs of breaking into the film and TV industry.
“Intro to Tatreez” is an introductory workshop that will teach participants the ins and outs of Tatreez, a traditional form of Palestinian embroidery. Before the workshop, participants will be provided with a set of supplies to purchase, and during the workshop they will receive instruction on how to stitch a Tatreez motif. This workshop is meant for beginners – no stitching experience is needed.
In “Narrative Podcast Scripting,” participants will learn to build layered, nuanced audio stories in their podcasts.
In “Who’s This: Writing the Profile Piece,” E. Alex Jung will walk participants through the process of writing two profile pieces—one short, one long—with an hour devoted to each.
In “Beyond the Braided Essay: Reworking our Sources in Creative Nonfiction” participants will learn different ways of incorporating external sources—research, cultural objects, reportage, literary texts—into personal nonfiction.
In “Writing Teosintes,” participants will draw inspiration from teosinte, the wild ancestor of maize, as they collectively work on a script (theater / film / TV) that, in Cazares’s own words, “Meta would immediately flag, cancel, and ban.” The goal will be to create an alternate cultural canon uncensored by Zionism.
This workshop will approach the practice of oral history through a de-colonial, anti-capitalist, and reparative lens.
In this workshop, co-directors Eric Stanley and Chris Vargas will screen their film, Criminal Queers (2020), a DIY queer abolitionist comedy that visualizes a radical trans /queer struggle against the prison industrial complex.
In “Seeing the Stanza,” participants will learn how to write ekphrastic poems, a genre of poetry which uses vivid language to describe or respond to a visual form of art.
In “Redefining Words: Through Poetry,” participants will examine commonly used words (particularly relational words like “wife,” “sister,” etc.) and break them down, interrogating where our ideas of them come from in order to redefine them for ourselves.
In “Esperanto 101,” translator Adam Kuplowsky will offer a brief history of the international auxiliary language known as Esperanto, discussing Esperanto's connections to anti-imperial, anti-fascist, and worker movements in the early 20th century.
In “Colonialism and the Heritage of Genocide,” participants will think through the ongoing genocide in Palestine through the lens of the Armenian genocide (1915-16).
“Miyazaki Mode” is a generative workshop that will use the work of Hayao Miyazaki as a jumping-off point for participants’ own creative practice.
In “Poetry in Work,” participants will focus on the role of poetry in worker movements, thinking together about the connections between labor and language, as well as how poetry can refuse the apolitical in the expression of ideas.
“A People’s History of Okinawa” will focus on the way that ordinary people, in particular, women, refused colonial, capitalist violence through forms that largely go unacknowledged in histories of organized labor.
"Undisciplined" will focus on the history of soldier rebellion in the context of U.S. imperialist wars since 1945. Participants will learn how drafted and enlisted people of the U.S. military and other U.S.-backed armed forces organized themselves and collectively refused participation in the U.S. war machine.
“What is Caste?” will introduce students to a system of violence called caste, which works in tandem with racism, white supremacy, multiple colonialisms.
“Performance/Text” will explore text as performance, performance as text, performing texts, reading performances, and more.
In this workshop, Joshua Clover will lead participants in a discussion about the relationship among oil pipelines, colonial projects, and anticolonial struggles, with particular attention to the history of Palestine.
In this workshop, Saint will screen their short film “Persephone,” then discuss their process of writing and shooting the film, as well as its themes of cosmic horror, anti-Blackness, and the apocalypse.
In “Writing the Bodymind” Khairani Barokka will lead participants in a series of creative writing exercises to practice and express attunement with our bodyminds, and possibilities for resistance to colonial capitalism.
