Former poet laureate of Philadelphia, Yolanda Wisher not only writes her own powerful poetry that feeds souls but she also works to build platforms for other writers. She educates, and she entertains. She provokes, and she nurtures. For a decade, she has taught English to high school students, inspiring them to reflect on literature and language. She served as Director of Art Education for Philadelphia Mural Arts, founded and directed the Germantown Poetry Festival and Outbound Poetry Festival, and has led workshops and curated events in partnership with the Philadelphia Museum of Art, the Free Library of Philadelphia, and the U.S. Department of Arts & Culture. Now, Wisher’s labor of love is as Curator of Spoken Word at Philadelphia Contemporary. Also, she’s one of the first groups of artists with studios at the Cherry Street Pier on the Delaware River Waterfront.
She’s pretty incredible. And, I got to interview her! We chatted about how themes emerged in her writing, bringing poetry to the masses, and her tips for completing projects when one is busy and has LOTS of ideas. You can read her responses here.
Yolanda Wisher will be joining us at this year’s Hobart Festival of Women Writers, taking place September 6-8. She’ll be teaching RAG & RIFF: The Poetics of the Quilt. Here’s a description:
The Gee’s Bend quilts are the work of several generations of Black women quilters in the rural town of Gee’s Bend, Alabama.
Their work has been shared in museum exhibitions across the country to much acclaim. The quilts, which initially served as functional objects and heirlooms, have been heralded as modern and postmodern art, gospel, and jazz.
They were born out of slavery and sharecropping, the landscape of the South, and the personal stories of the women and men whose lives are sewn into them. Like poems, the Gee’s Bend quilts play with forms—some borrowed and reimagined, some invented and organic.
What can the poet learn from the history, the matriarchal vernacular and the abstract architecture of Gee’s Bend quilts? For starters: the revelatory properties of color, the turn and bend of a line, its asymmetrical rhythms, and the individual voice that must come through the assemblage of fabric.
As Gee’s Bend quilter Mensie Lee Pettway said, “Ought not two quilts ever be the same.” In this workshop, we will riff off the history, craft, and colors of Gee’s Bend quilts as we consider our own inherited folk forms. We will use the quilters’ techniques to create our own layered and vibrant poems.
You can register for Yolanda’s writing workshop and mine, Wild Women on the Road, here.
Anne Waldman, Penny Arcade, Jan Herman, Steve Dalachinsky, and Aimee Herman read at 
Pam Belluck, Hettie Jones, Margot Olavarria, Marci Blackman, and Beth Lisick read at 
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Reading Elena Ferrante’s My Brilliant Friend, a recommendation from my friend Jane.
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Drinks with one of my favorite people at 
Watched Homer’s 
Teaching a writing class at the 
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Speaking on the panel 
Meeting regularly with one of my best friends to read and write together at the 
Spotting a first edition copy of Jack Kerouac’s On the Road at the 
Stephanie Nikolopoulos 