History and Heritage
There are easily hundreds of writers' conferences in this country alone, and each gathering offers something unique and alluring to its participants, such as the opportunity to work with a favorite author. Often, though, destination is a determining factor in the decision-making process. What could be more inspiring than to travel to a region of the world we have never seen but longed for, or a chance to revisit a place that has always inspired us? When it comes to inspirational spots, New Mexico has plenty to offer.
A published novelist and the head of the University of New Mexico's creative writing program, Sharon Oard Warner herself is no stranger to these writerly gatherings. She has attended, as a contributing writer and as faculty, places like Bread Loaf in Vermont and the Iowa Summer Writing Festival. As founder and director of the Taos Summer Writers' Conference, Warner drew on her experiences with other such programs in developing her own. Despite her affiliations with UNM, the conference is its own entity financially. Spiritually, it transcends the walls of the university. It remains important to its founder that the essence of this gathering reaches out to "serve the writing community in New Mexico to the greatest possible degree." But as a cornerstone in this effort lies a distinct conference philosophy that attracts writers from not only all over the U.S., but Canada, Taiwan and West Africa. It begins with place.
Though the Taos Summer Writers' Conference is young in comparison to events like Bread Loaf, the inspiration behind it is deeply rooted in New Mexico's literary history and predates the existence of even its most well-established national predecessors. English-born writer D.H. Lawrence first traveled to Taos in 1922 at the invitation of Mabel Dodge Luhan. In the 11 months he spent there, over the course of three separate visits, he arrived at a keen understanding of the compelling nature of this landscape. Now, years after Lawrence first set eyes on the dramatic sweep of northern New Mexico, it continues to be a powerful draw for countless artists and writers. Thus, part of the key to the conference's success lies in the ability of Taos itself to bring people together in the force of its beauty's impact. Indeed, participants have been known to arrive in this little town a full week before the conference begins, filling their days with museums, galleries, restaurants and vistas that are Taos' trademarks. Even after the start of the conference, writers can be found using their free time to explore its riches, among them the ranch where Lawrence himself lived and worked and where his ashes purportedly lie. Lawrence's widow Frieda gave the ranch to UNM in 1955, eight months prior to her own death. She stipulated that it be used for educational, cultural, and recreational purposes. Nothing could fit this bill better than the conference Sharon Oard Warner directs.
"I want this conference to be inclusive, not exclusive," Warner explains, and there are a number of steps she, her staff, and ardent supporters of the project have taken to make this possible. Certain events, such as evening readings by instructors and a publishing panel, are open to the general public. For those who wish to attend workshops, there are opportunities for financial aid. The conference offers two merit-based scholarships, and the D.H. Lawrence Fellowship, awarded each year to an emerging writer with one book in print, is another means of assisting participants financially.
Excerpted from June 2001 AbqArts
Emily Spiegelman
