I just grabbed these names from our emailings and Rachel Levy's list.
I tried to cut out dead people/people in other countries/too-famous
people.


Shellie Zacharia
Jayne Anne Phillips (Black Tickets)
Christopher Merkner
J. Robert Lennon (I haven't read his work yet--has anyone else?)
Robert Olen Butler (Severance)
Joe Wenderoth (Letters to Wendy's)
James Kelman (the short short fiction/essays)
Russell Edson
Jim Heynen
Killarney Clary

CONTEMPORARY LEGENDS/PARABLES/FABLES, ETC:
Lily Hoang
Rikki Ducornet
Kate Bernheimer
Amelia Gray
Zachary Mason

PHILOSOPHICAL FRAGMENTS:
Ben Lerner
Rosemarie Waldrop
Thalia Field
Yuriy Tarnawsky
Kenneth Bernard

HYBRID FORMS/PROSE POETRY:
Sawako Nakayasu
Noah Eli Gordon
Ariana Reines
Andrew Borgstrom
Johannes Goransson/Joyelle McSweeney
Zachary Schomburg
Christine Hume
Mathias Svalina
Sean Lovelace
Sean Kilpatrick
Travis Nichols
Harmony Holiday
Roxane Carter

FLASH FICTION:
Diane Williams
Gary Lutz
James Tadd Adcox
Deb Olin Unferth
Roxane Gay
Michael Martone
Blake Butler
Stacy Levine
Christine Schutt
Tao Lin

HYPERTEXTS/PERFORMANCE:
Mark Amerika
Tim Jones-Yelvington
John Haskell

On Mon, Apr 29, 2013 at 2:14 PM, Cathy Wagner <[log in to unmask]> wrote:
> Keith is right, we'd need to identify three or four people and hit
> them up right away, given the Weds deadline. I will put the list of
> folks we put together ahead of the conference in a reply to this email
> -- some of them could be hit up.
>
> Here is what else you need, cris (and I pasted your TAUT conference
> flier text in here). I have just worked on 2 AWP proposals and don't
> want to write another, but I will spill what I know here --
>
> You need a 500-character event description and a 500-character
> statement of merit (including spaces!). The merit statement tells the
> judges why your event is important for attendeeds to hear.
>
> You have to propose ONE "type of event" and I guess it would be this:
>
> Hybrid Genre Issues: These presentations focus on topics of craft that
> apply to more than one literary genre, including issues pertaining to
> writing for social justice; ethnic representation, environmental
> issues, religion, science, cultural trends and upheavals; the creative
> process; mixed media collaborations; and literary or cultural theory.
>
> But I would note in the Statement of Merit that the topic would be of
> interest to people who want to go to Fiction Craft & Criticism or
> Poetry Craft & Criticism or Nonfiction Craft & Criticism panels.
>
> Here is your TAUT flier description, very slightly tweaked just now by
> me -- I think it's decent, lively, but it still needs to be reduced
> 150 characters (including spaces), and it needs to be reframed as
> "this is what our panel will discuss." As Keith said, you'd mention
> the conference.
>
> We all know that prose can be poetic and poetry can be prosaic: but
> between the discrete genres of Fiction and Poetry, a common land of
> hybrid creative writing forms, less easy to classify, is blooming.
> Such writing often takes short form. Lately, traditions including the
> prose poem, the fable, the anecdote, the pensée and the philosophical
> fragment are appearing increasingly lively. Joined with sudden
> fiction, flash fiction, the creative non-fiction essay and the
> anecdote, a trend becomes apparent. Toss the popularity of texted and
> tweeted narratives, the creative use of status updates, the billboard,
> the scrolling LED, the comic strip and art-neon into that brew and an
> energetic field of creative writing practice emerges, ripe to be
> celebrated and discussed.
>
>
> Here is a sample event description that made it last year:
>
> A Congerie of Voices: Vernacular and Diction in Contemporary Poetry.
> (Carmen Gimenez Smith, Joanna Fuhrman, Samuel Amadon, Lara Glenum,
> Rodrigo Toscano)
>
> Many contemporary poets appropriate the lexicon and syntax of foreign
> or marginal languages, often adopting the slang of a particular
> historical moment. These linguistic choices may be charged with
> political or cultural resistance, or they may be purely aesthetic.
> This panel will discuss the various possibilities and implications of
> appropriating and subverting foreign or marginal dictions in poems and
> what these explorations mean to the future of poetry.
>
>
>
> On Mon, Apr 29, 2013 at 2:08 PM, Tuma, Keith <[log in to unmask]> wrote:
>> Eric is the expert at these proposals,but I would tie it explictly to our
>> intention to host a national conference the following fall and use the
>> language you used in the promo text for the conference from way back, in re
>> short forms, etc.  The bigger question might be who is up for delivering
>> papers/talks on short forms?
>>
>>
>> On Mon, Apr 29, 2013 at 1:48 PM, cheek, cris <[log in to unmask]> wrote:
>>>
>>> This is a  v e r y  good idea. However i've had no luck at all proposing
>>> panels to AWP. I'm happy to present, even to chair such a panel. Any
>>> thoughts as to how it might be framed (from those who have had success
>>> making such proposals in the recent past)?
>>>
>>>
>>> cris
>>>
>>>
>>> On Mon, Apr 29, 2013 at 1:15 PM, Goodman, Eric <[log in to unmask]>
>>> wrote:
>>>>
>>>> cris and others,
>>>>
>>>>  if there's to be a TAUT in the fall of 2014, I think it would be a very
>>>> good idea to try to propose an AWP panel for next spring on the convergence
>>>> of short forms, etc.  Deadline is Wednesday!
>>>>
>>>>
>>>> On Mon, Apr 29, 2013 at 1:10 PM, cheek, cris <[log in to unmask]> wrote:
>>>>>
>>>>> Hi,
>>>>>
>>>>> i WILL be presenting on a panel at this fall's &Now, University of
>>>>> Colorado   -  September 26th through 28th. I would far rather this event
>>>>> were earlier in that week.
>>>>>
>>>>>
>>>>> cris
>>>>>
>>>>>
>>>>> On Mon, Apr 29, 2013 at 12:12 PM, Cathy Wagner <[log in to unmask]>
>>>>> wrote:
>>>>>>
>>>>>> Hello all, do you know whether there would be any conflicts if we set
>>>>>> up a reading for Gavin Selerie and Frances Presley (poets from
>>>>>> England) the week of 9/23? Probably Thursday?
>>>>>>
>>>>>> Thanks,
>>>>>> Cathy
>>>>>
>>>>>
>>>>
>>>
>>