Lit Fest - Lighthouse Writers Workshop 2026

The popular image of the poet is as a dasher off of poem drafts. So manic and mercurial are poets’ imaginations that not even champion typists can keep abreast of them. If there’s a problem, it’s something to which they can return in a quiet moment way down the road. The focus of this week will be to set ourselves against this popular image, to make every moment a quiet moment, to fix problems as they arise, to revise even as the poem’s vision for itself is slowly coming into being and, in the end, to cut down on a lot of unnecessary work. The key to this approach is to write the poem one line at a time, to allow one idea to lead to another, and to avoid getting ahead of ourselves. When we implement this approach, the poem is now, paradoxically, more likely to bring us to a place of genuine immediacy and vitality which had hitherto been illusory.

Are there lines in your stories or essays that, when you reread them, contain multitudes? Ideas in which your thinking has deepened or changed? How do you pull threads from previously written prose and turn it into prose poetry or hybrid prose? What was once an essay may carry the seeds of a flash essay, prose poem or song. We’ll explore work that began in one form and transformed into another and talk about how to do that for a piece of our own.

In this weeklong seminar, poets, fiction writers, and memoirists (and even non-writers) will re-consider and even de-rail their works in progress (or write new ones) informed by some new approaches, formal constraints, good talk, and engagement with other art forms. We’ll write at least four pieces this week, taking cues from the history of poetry and prose, music, photos, and film, and we will effectively banish the lines that separate these forms of expression in order to instill our own work with the real breadth of this postmodern world. Bring a song, a problem (aesthetic or personal), or at least one significant photo, stuffed animal, flyer, something—a piece of real or artificial fruit. The goal is to create a live working environment, a studio effect, in order to generate more work and to get reinstalled or re-awakened in our writing process.

*Since this is a generative class and can accommodate a few more people, Eileen cannot meet one-on-one with each participant, but they tend to be around Lit Fest and there are ample opportunities for additional talks.

With our usual poetic practice, we might focus on clarity and meaning while letting our instincts determine the lines, stanzas, and punctuation. Some poems entice us to try something new. In this workshop, we’ll play on the page in hopes of discovering new layers and poetic intentions. We’ll talk punctuation and how it honors rhythm, including Dickinson’s emdash, when to “and” or “&,” and the mystery of / and // used by writers like Dana Levin. We will also consider methods of end stopping, enjambing, and even omitting punctuation altogether.

In this generative workshop, we'll try our hand at writing poems using some newish, wild, and invented forms---like the burning haibun, the duplex, and more. Bring your rhymes and schemes and creative impulses, and be ready to write, sing, count, and laugh.

How might Romanticism translate to our time? In this workshop, we'll carry its core precepts—spontaneity, accessible language, the connection between nature and human creativity, the power of individual imagination—into contemporary poetry. Drawing on Keats, Wordsworth, and Blake, we'll make our own departures into visionary lyricism.