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By Hedgebrook Guest

Activism, movement building, and fighting structural inequality

The play ended and my colleague Carlton Mackey (founder of 50 Shades of Black) invited the audience to share one-word reflections on their experiences. The students at Bowie State University, an historically Black institution in Bowie, MD sat in silence for several moments before their words came pouring out:

 

“Familiar.”

“Discrimination.”

“Baltimore.”

“Relatable.”

“Ferguson.”

“Reality.”

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By Hedgebrook Guest

Why VORTEXT is Better Than an MFA

The answer to how important a Master of Fine Arts degree is to becoming a fiction writer is, of course, not at all. The history of world literature is weighted heavily on the side of writers who put their masterpieces together without the benefit of two years of graduate school.” ~Ann Patchett, “The Getaway Car.”

For years I have agonized over whether or not I should get an MFA, but I could never bring myself to spend a ton of money or move to a new city in an attempt to earn a a real degree. On my blog, The MFA Project, I document the ways I now make up my own MFA—I am in a workshop that meets regularly, and I am constantly trying to read more widely. Since attending VORTEXT in 2015, the idea of a literary community is now a crucial part of this alternative to the MFA as well.

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By Hedgebrook Staff

Highlights from The United State of Women Summit

The first United State of Women Summit held at the Whitehouse last week was so wildly inspiring, everything seems infinitely more possible. A paradigm shift is in the air, especially when it comes to creating a bright future for women and girls.

As Hedgebrook’s Executive Director Amy Wheeler experienced first hand, this powerful gathering of leaders—predominantly women with a few stellar, male feminist exceptions—spoke passionately about our successes, what lies ahead and what we can do to facilitate change in our country and beyond.   Read more

By Hedgebrook Staff

The United State of Women Summit

Something incredible has been brewing at the White House today—the United State of Women Summit is blowing the roof off the place and Amy Wheeler, Hedgebrook’s Executive Director is in the thick of it, soaking up inspiration and ideas to help further Hedgebrook’s cause of Women Authoring Change.   Read more

By Hedgebrook Guest

The Fabric of Time

Now that the Hedgebrook Women Playwrights Festival is in its 19th year, I find that I’m in the past and in the present all at the same time. As I walk up the road from the Farmhouse toward the cottages, I hear echoes of laughter and snippets of conversations past, the deep reverberations of the playwrights who’ve been here before. Even as I greet the 2016 Hedgebrook playwrights for the first time—and they’re an astonishing group of women: Kristiana Rae Colón, Virginia Grise, Dawn Renee Jones, Madhuri Shekar, and Regina Taylor—I simultaneously recall the sound of Dael Orlandersmith telling rock ‘n’ roll stories, the image of Danai Gurira hunched over her laptop, and a walk to Double Bluff beach with Sarah Treem. I remember laughing till we cried and crying till we laughed with Kathleen Tolan. I remember the “whoosh” of Theresa Rebeck slipping new pages under my door at 7:00 a.m. I remember playing poker with Tory Stewart, collecting rocks on the beach with Lydia Stryk, and attending mass with Julia Cho. I think of hanging out in the farmhouse after dinner and hearing Tanya Barfield read the first scenes of what would become Blue Door, Lynn Nottage sharing the exquisite beginnings of what would become Intimate Apparel, and Caridad Svich reading an early draft of Magnificent Waste (“B-b-b-boy in a box.”). Each memory conjures up ten more. Alice Tuan, Lenelle Moïse, Tanya Saracho, Karen Hartman, Rosanna Staffa, Quiara Alegría Hudes, Karen Zacarías . . . so many extraordinary women who’ve gathered here over time to dig deep into their writing, share generously of their lives, and create the plays that, one by one, are transforming the American theatre.

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By Hedgebrook Guest

The Art of Falling in Love

One year ago I boarded a ferry headed for Whidbey Island, for the beginning of a two-week stay at Hedgebrook, for their annual Hedgebrook Women Playwrights Festival. I was invited by the Goodman Theatre, which had commissioned me to write a new play KING OF THE YEES for them. Today, one year later, I have a co-production of the play scheduled for 2017 at the Goodman and Center Theatre Group, a Canadian premiere of the same play, and two additional commissions that are almost certainly connected to my time on Whidbey Island. Hedgebrook has certainly been one of the most helpful vehicles for creating momentum around my work, and since Hedgebrook, I’ve spent a lot of time wondering how this exactly happened and how to replicate this in everyday life.   Read more

By Hedgebrook Guest

In Willow Cottage at Hedgebrook

The past few weeks have been by turns exciting, sorrowful, grief-filled, stressful and exhilarating. From flying to Paris for a two-week holiday, only to find out my younger sister had Hedgebrook, it has been a tumultuous time.

Today is my fourth day among the quiet cedars and oaks of Hedgebrook, a retreat center for women writers on Whidbey Island in the Pacific Northwest. In January, I was accepted into a Master Class with poet Carolyn Forché, and so far it has gone beyond my every expectation.   Read more

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Shobha Rao: Women Authoring Change
Lena Khalaf Tuffaha
Lena Khalaf Tuffaha: Women Authoring Change