Teacher and poet, Jodie Hollander, leads a series of poetry workshops across Arizona in April for National Poetry Month.
The beauty of the natural world has long been an inspiration for writers and poets. in April 2022, poet Jodie Hollander teamed up with the National Parks Service in Arizona to host workshops across the state celebrating national poetry month by inviting anyone who is interested to learn about the art form, reflect on their environment and even write their own poems. Hollander is working with NPS on a similar schedule of events for April 2023.
Producer: Andrew Brown
Videographer/Editor: Jandro Davalos
In a very special episode of the podcast, we celebrate the life and work of the late poet, Robert Mezey, with help from 25 friends and colleagues. We are so ...
As the Museum of Northern Arizona’s poet in residence for 2018, Jodie Hollander began looking for a way to bring poetry to more people. Following the success of the programs she hosted at the museum, she went on to partner with the National Park Service to test out workshops at Walnut Canyon and Wupatki National Monument.
I'm delighted to announce that, after the success of our two pilot programs last fall, the Arizona National Parks will be sponsoring four more poetry workshops in April this year. These workshops are free and open to all, and no experience is necessary.
Capturing Feeling Through Sound: Why Music Matters in Poetry
photo credit: Roy Manzanares
Why do we share poems, as opposed to other writing forms, at weddings, funerals and other significant life events? What is it about poetry that speaks to our humanity, and how does a poet create something so profoundly impactful? In this brief talk, we’ll consider one indispensable tool that, for centuries, poets have known is the key to creating powerful poetry: musicality. We’ll consider not only how musicality distinguishes poetry from other forms of writing, but also how it can heighten, enrich and transform a poem — ultimately creating something that can, as William Wordsworth says, make us “wiser, better and happier.”
Northern Arizona's Mountain Living Magazine Spotlight with Poet Jodie Hollander on her time in Flagstaff as a Poet-In-Residence for the Museum of Northern Arizona.
Read the spotlight here.
I will be presenting at the Miami Book Fair on November 17th. Below is a description of the event.
In The Shallows, Stacey Lynn Brown explores complex legacies of family, race, and illness in the American South. At the core of Libby Burton’s Soft Volcano lie the marks of woe and time left upon the body after love is strained or abandoned. Jodie Hollander charts a story of familial understanding and reconciliation in My Dark Horses. Erika Meitner plumbs human resilience in the face of disaster and uncertainty, refusing to settle for easy answers in Holy Moly Carry Me.
Excerpt reprinted from the AZ Daily Sun website. Click the link to read the full write up!
THE CALLING OF A POET
Growing up in a family of classical musicians, Colorado poet Jodie Hollander says they were often compared to the Von Trapp Family Singers. Hollander wasn’t bad at music, but she didn’t quite have perfect pitch the way her brother and sister did, and after trying multiple instruments, Hollander decided music wasn’t for her. Instead, she became an observer, and a love of poetry began to develop.
Excerpt from the article reprinted from The Times Literary Supplement website:
Dizzyingly Evocative
Suzannah V. Evans reviews Jodie Hollander’s new collection of poems
SUZANNAH V. EVANS
“In the end she was never quite sure / whether it was real or she was dreaming.” Jodie Hollander’s powerful debut collection is as hypnotic and rich as a dream, taking as its epigraph Rimbaud’s assertion that “A thousand dreams within me softly burn”, and returning to the word “dream” repeatedly, balancing dreamscapes with vividly realized portraits from life. It is peopled with musicians, music-flooded, and there is a sense of a whole family history pressed into its pages. The mother is the dominant figure, present from the collection’s first poem, “Splitting and Fucking”. Here, the title words are repeated, hammered throughout the poem, echoing the simmering violence of “that last guy” who “split all kinds / of things like / the front door”. Meaning is split across the poem’s line breaks – the poem explicitly plays with form – and different senses of the title words are considered, so that the poem takes in “split / personalities”, “ear-splitting” screams, and a “split / up” relationship, before concluding with a devastating cancer diagnosis: “mutant cells / splitting and fucking / all over / her insides”.