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mind, then metaphor is an accelerant and poets are arsonists.” Whether a writer intends this fire to provide warmth or to burn something down, my goal as a teacher and mentor is to provide them with the tools necessary to stoke that flame. Meeting students’ writing on its terms and through the lens of their own individual poetic canons, rather than a monolithic notion of craft, I hope to draw out the best and bravest versions of their work. I encourage writers to court failure in their writing

, The Daily Poet: Day-By-Day Prompts for Your Writing Practice (coauthored with Martha Silano), Fire on Her Tongue: An Anthology of Contemporary Women’s Poetry, and Demystifying the Manuscript: How to Create of Book of Poems (coauthored with Susan Rich). She lives in a sleepy seaside town where she is an avid paddleboarder and hiker. She teaches at Pacific Lutheran University’s low-res MFA program, the Rainier Writing Workshop. Kelli  is the cohost of the poetry series “Poems You Need” with Melissa

company ultimately rising to the level of Senior Counsel responsible for all public company reporting, structured finance and securitization and he also served as the secretary to the Board of Directors.  Professor Flick participated in the drafting and filing of all required disclosures under the Securities Act of 1933 and the Securities Exchange Act of 1934 including Forms 10-K, 10-Q, 8-K and the annual proxy statement.  Professor Flick was part of the management team that was involved in the

was a Wallace Stegner Fellow in Poetry at Stanford. Her poetry has recently appeared in POETRY London, The Georgia Review, Kenyon Review and other journals. Jennifer currently teaches at the Rainier Writing Workshop, the Institute of  American Indian Arts Continuing Education Program, and is the Literary Assistant to the U.S. Poet Laureate, Joy Harjo. She Foerster grew up living internationally, is of European (German/Dutch) and Mvskoke descent, and is a member of the Muscogee (Creek) Nation of

 Best American Short Stories and Best American Essays.  Winner of the Oregon Book Award, the Great Lakes Colleges New Writers Award, and the Reform Judaism Fiction Prize, he teaches at Willamette University and lives in Salem, Oregon. Mentor. Workshops and classes in fiction. Statement: “As a writer, I am endlessly surprised and fascinated by the possibilities offered by narrative and by language; as a teacher, I try to get students excited about those possibilities by sharing my discoveries and

piece or a direction hears the right question and then realizes what to do next. To me a workshop or mentorship doesn’t involve ‘teaching’ or ‘learning’ so much as rediscovering what we already know but may have forgotten, overlooked, or masked. I think we’re all apprentices to our work, and the heart of this relationship lies in the way we choose to be in the world. I want students to interrogate their experiences, trust their sensibilities, and open themselves to the possibilities revealed through

. Mentor. Workshops and classes in fiction and nonfiction. Statement: “One day in college, my favorite teacher came to the limit of her patience with me.  I had nearly suffocated a personal essay full of similes and metaphors and the word ‘I.’  She looked at my five drafts, handed them back and said, ‘You can do better than this. Just tell the truth.’  The simple rightness of this struck me like a blow to the head, and still does: it is a model of great teaching.  Of course I still commit, on a daily

graduate of PLU in ’72, his career path has led him through various teaching jobs as well as art and design studios. He returned to PLU to teach in 2000, and many of his students have since moved on to their own creative and teaching careers. A quote that describes his outlook is in Henry Glassie’s 1999 book The Potter’s Art (Indiana University Press): “It is good to be a potter. At work, the potter manages the transformation of nature, building culture while fulfilling the self, serving society and

and men to tell their own stories through writing. Davis currently lives in the Ozarks, where he teaches for the Program in Creative Writing & Translation at the University of Arkansas. Raised by the Pacific Northwest, he also serves as Poetry Editor for Iron Horse Literary Review.  Mentor. Workshops and classes in poetry. Statement: I encourage writers to keep sight of what comes next. Yes, we will work on sharpening our craft through intensive practice with technique and through a study of

classes in poetry. Statement:  “I encourage students to think of themselves not as isolated individuals, but as members of a learning community. For me, the writing workshop is a place where students improve their skills in reading, critical thinking, interpretation, and communication through engagement with their own texts and with those written by others.  To be members of a learning community, I teach my students that verbal and written communication are inextricable, neither can take place