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Reginald Dwayne Betts reads his work at Bread Loaf

April 23, 2012

Reginald Dwayne Betts reads his poems at the Bread Loaf Writers’ Conference, August 15, 2011.

“What We Know of Horses”

“Horses”

“After, Again,” for the poet’s wife, Terese Betts

“After, again”

“A Head Full of Feathers”

“a head full of feathers”

To listen to the entire reading, or to other readings and lectures from the Bread Loaf Writers’ Conference, visit their iTunesU site.

Reginald Dwayne Betts is a husband and father of two sons. The author of the memoir, A Question of Freedom (Avery/Penguin 2009) and the collection of poetry, Shahid Reads His Own Palm (Alice James Books, 2010), Betts has been awarded fellowships from the Radcliffe Institute for Advanced Studies, the Open Society Institute, Bread Loaf Writers’ Conference, and Warren Wilson College. As a poet, essayist and national spokesperson for the Campaign for Youth Justice, Betts writes and lectures about the impact of mass incarceration on American society.

Filed Under: Audio Tagged With: Bread Loaf Writers' Conference, NER Audio Highlights, Reginald Dwayne Betts

Works from NER Chosen for “Best American”

January 23, 2012

Otto Penzler has selected Kathleen Ford’s “Man on the Run” 31.4 for Best American Mystery Stories 2012.

For Best American Poetry 2012, Mark Doty has chosen four NER poems:

• Amy Glynn Greacen, Helianthus Annus (Sunflower) (32.2)
• Reginald Dwayne Betts, “At the End of a Life, a Secret” (31.4)
• James Allen Hall, “One Train’s Survival Depends on the Other Derailed” (32.2)
• Natasha Trethewey, “Dr. Samuel Adolphus Cartwright on Dissecting the White Negro, 1851” (32.3)

Filed Under: News & Notes Tagged With: Amy Glynn Graecen, Best American Mystery Stories, Best American Poetry 2012, James Allen Hall, Kathleen Ford, Natasha Trethewey, Reginald Dwayne Betts

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Vol. 42, No. 1

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Writer’s Notebook

Writer’s Notebook—Field Dress Portal

Sarah Audsley

Writer’s Notebook—Field Dress Portal

Writing this poem was not a commentary on a rivalry between the sister arts—poetry and painting—but more an experiment in the ekphrastic poetic mode.

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