Please note that registration for all Fall 2017 University of Arizona Poetry Center Classes and Workshops opens August 15, 2017. Registration remains open for each class until it fills.

If the class that interests you does not appear below, it is because the class is fully enrolled. You may be added to a waitlist for the class by emailing the Becka Ranta, the Events Coordinator, at

For more details on the Classes & Workshops program and the classes this fall, please visit the Classes and Workshops Current Offerings page of the University of Arizona Poetry Center web site.

Conference registrations are available from now until October 9 at midnight MST, at which point this Submittable page will no longer be active. Very limited on-site registrations will be available; please contact Becka Ranta at to check availability and reserve your pass.

Thinking Its Presence 2017 brings together the discipline and art of pedagogy and the arts in general with perspectives from critical race theory, poetics, performance studies, literary theory, literary history, ethnic literatures, and Native American and Indigenous studies. Our mission is to foster a dynamic exchange among creative writers, artists, performers, and scholars. 

The conference will take place in Tucson, Arizona, October 19-21, 2017.

Registration fees:
  • General registration: $80
  • Participant registration (non-UA, non-student): $60
  • Student registration (non-University of Arizona; must have valid student ID): $50
  • University of Arizona student, staff, faculty, alumni: $20
  • Conference volunteer registration: $10 (please contact Hannah Ensor for more information:
For more information on the conference, including the call for proposals, the 2017 conference theme, keynotes, and more, please see
Music As Source

Class Meetings: Saturdays 10/28, 11/4, 11/18, 12/2, 12/9, 12/16, from 12:00 to 2:00pm, in the Poetry Center Alumni Room 205.

“After silence, that which comes nearest to expressing the inexpressible in music.” 

- Aldous Huxley, Music at Night

Music As Source is a six-week exploration of what music means to each of us—what it inspires, reminds us of, provokes in us, expresses through or to us. Each session will include writing exercises of varying lengths, and we will experiment with many written forms and approaches. This is an open genre class, and students with all levels of experience with language and music are welcome.

Each class meeting is 90 minutes long, with 30 extra minutes for optional one-on-one meetings with the instructor and/or with your classmates at the end of each class meeting.


Instructor bio: 

Dan Kruse is a musical researcher and lecturer, a documentary filmmaker, and a teacher and facilitator. He holds a Master’s in Ethnomusicology from the UA’s Fred Fox School of Music. Dan’s Master’s Thesis is “Zoom!”, a documentary film chronicling the life of a small, independent record label in late 1950s Tucson; it was named “Best of Arizona” in the 2013 Arizona International Film Festival. Dan’s documentary works have also aired on Arizona Public Media’s “Arizona Illustrated” and “Arizona Spotlight”, and he served for six years as the local host of NPR’s “All Things Considered”. He’s a popular lecturer on a variety of musical topics in the Tucson area, and finds the written and spoken word to be meaningful ways to access our deepest values and our relationship to music. 

Rewriting Our Family Stories

Class Meetings: Mondays and Wednesdays, November 27—December 13, 6:00pm-8:00pm, in the Poetry Center Conference Room 207.

We are all accumulations of the stories we tell ourselves and the stories we’ve been told. We inherit family histories in fragments, and while family members may agree on the elements of a story, we sometimes construct different meanings and personal narratives around them. In this course, we’ll explore what responsibility we as writers owe to established family narratives, and when (and how, and why) we should diverge from them. Over six weeks, we will generate and workshop our writing. We will read personal essays and memoir excerpts by writers who document, rewrite, and deconstruct their own family histories, such as Mary Karr, Cheryl Strayed, Jeannette Walls, Melissa Febos, Mason Stokes, and David Sedaris.

Instructor bio: 

Danielle Geller is a candidate in Creative Writing, Nonfiction at the University of Arizona. She is also the grateful recipient of a 2016 Rona Jaffe Writers’ Award. Her work has appeared in Brevity and Silk Road Review, and she has an essay forthcoming in This is the Place (Seal Press, 2017). She is working on a collection of essays about her mother. 

Ends on October 2, 2017


The Hattie Lockett Awards are presented annually to three University of Arizona undergraduate students who, in the fall of their senior year, demonstrate great promise as poets. Three prizes in the amount of $300 each are awarded each year. The award was established in 1978 by Clay Lockett in memory of his mother, Hattie Greene Lockett (1880-1962). An Arizona teacher, sheep rancher, and writer, Hattie Lockett was president of the Arizona League of American Pen Women and served as their Poetry chairman. She also inaugurated Arizona Poetry Day.

We're excited to announce that the 2017 Hattie Lockett judge is Eloisa Amezcua

Eloisa Amezcua is an Arizona native. She's received fellowships and scholarships from the MacDowell Colony, the Fine Arts Work Center, Vermont Studio Center, the Bread Loaf Translators' Conference, among others. Her debut collection, From the Inside Quietly, is the inaugural winner of the Shelterbelt Poetry Prize selected by Ada Limón, forthcoming from Shelterbelt Press. She is the author of three chapbooks and is founder and editor-in-chief of The Shallow Ends: A Journal of Poetry

Contest Eligibility

The Hattie Lockett Awards are open to University of Arizona seniors enrolled in at least 12 hours of course work at the time of the contest.

Enter the Contest

The 2017 contest will open to submissions on Friday, September 8, 2017, and the deadline for submissions is Monday, October 2, 2017, at midnight MST.

Paper submissions will not be accepted. Please make sure that the poems you submit are exactly as you want them to appear. Revisions will not be accepted while poems are under review. 

Submissions should include:
  • A typed manuscript of three poems totaling no more than ten pages.
  • All poems should be included in one document.
  • We only accept DOC, DOCX, PDF, and RTF files.
  • Please format your text in Times New Roman or Arial font, size 12.
  • Name should not appear on work.