writing retreats january 2022

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50+ Incredible Writers Retreats to Attend in 2022

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Since COVID has drastically changed the world we live in, many of these retreats may be canceled, postponed or moved online. Check with each individual retreat for details.

Dream of getting away to write, but need some guidance on the next steps for your novel?

Want to meet and work with other writers, but in a more intimate setting than a writing conference ?

A writing retreat might be just the ticket.

And while some of these retreats might still be on hold due to the pandemic, many are getting back into hosting.

Why you might want to attend a writers retreat

Whereas writing residencies are mostly about working in solitude, and conferences focus on networking and lectures, writing retreats fall somewhere in between.

Most are in beautiful locations (where, presumably, your creative juices will flow more easily), and offer a combination of workshops, tours and interaction with a small group of writers.

They’re a great way to combine a vacation with inspiration, networking — and, of course, lots of writing.

They can be pricey, but some offer scholarships (so always ask!), or consider creating your own writing retreat with friends.

And remember: A writer’s retreat is an investment in your career, as well as an opportunity to get away. If they’re out of your price range, then perhaps a writing residency would be a better fit. Or, check out this list of grants for writers .

Looking for a women-only retreat? Some of the retreats on this list fit the bill, and you can also hop over to our post on women’s writing retreats .

Incredible writers’ retreats to attend in 2022

The writing retreats below take place in 2022 (unless they’re postponed or cancelled because of the pandemic) — and are organized by location, in order from least to most expensive.

(Hint: If there’s a particular country or month that works best for you, command-F to search the page for it.)

Unless otherwise noted, the prices include workshops, shared accommodation, activities and most meals. None include airfare to and from the destination.

If your chosen retreat has already happened, don’t despair; click through to check out next year’s dates, as many of them are annual affairs. And the same goes for if one has been postponed due to COVID.  

Please keep in mind that The Write Life team has not attended these retreats. While we’ve gathered as much information as possible to share with you, consider this a starting point, and do your own research before committing. To ensure you’ll have an enjoyable experience, we recommend reading testimonials and reviews, or asking the host to connect you with past participants.

USA & Canada

1. rocky mountain fiction writers retreat.

If you’re a fiction writer looking for a quick and affordable getaway, this retreat might be for you.

Set at the Franciscan Retreat Center of the Colorado Rockies it offers workshops, critiques and readings. The organizers promise you’ll “find inspiration in the natural beauty that will surround you.”

The retreat has a handful of Facebook reviews, with Diana Williams writing , “Everything – the people, the training – I am so impressed!” and Hillary Rose adding , “RMFW is a quality conference! Great teachers and keynotes every year. If you are going to invest in a writing conference, this is the one to choose!” 

Keep an eye out for more detailed information about location, costs and more.

Cost: TBD; 2021 costs ranged from $299–$399 per person. Or $65 per day if arranging your own lodging. 

2. Willow Writers’ Retreat

This three-day retreat in Hermann, Missouri (wine country!) offers quiet time away to immerse yourself in the writing process, plus a supportive group to cheer you along.

Willow Writers’ Retreat is facilitated by Susan Isaak Lolis, a published and award-winning writer. Attendees have access to workshops, including one with creative writing instructor Margaret Harrington, plus a reading on the last evening to celebrate your work.

Cost: TBD; 2022 rate was $350.

This event was already held from July 10-14, 2022. Keep an eye out for more detailed information about next year’s location, costs and more.

Disclosure: Willow Writers’ Retreat is a partner of The Write Life. We hold our advertisers to high standards and vetted this retreat just like the others on this list. 

3. Find Your Story: A Therapeutic Life Writing Retreat for Older Women

Are you in the second half of your life? Are you a newbie writer who wants to tell your story? Then this women-only retreat in Dallas, Texas was designed for you. 

Over the weekend, psychotherapist and writing coach Jennifer Westrom will help you get started (or unstuck) when it comes to your memoir. 

After attending Westrom’s writing class in 2018, Cherri Julia Maker Ridingin wrote on Facebook : “Jennifer is a strong leader in a soft way, highly intuitive, and an outstanding teacher. Class three is next week, and already I feel that I have released some blocks that were preventing me from moving forward in my writing. Her lessons have touched me deeply.” 

This event happened in the Spring of 2022. Keep an eye out for next year’s event details.

Cost: TBD; 2022 rate was $799 per person. 

4. Writing With Care

Picture a charming converted church by the ocean in Newfoundland, and something like Ochre House Retreat comes to mind.  This retreat welcomes a small group of creative artists from all disciplines and welcomes participants to “unwrap their writing and their experience of writing.”

Under the guidance of “extraordinary” instructors, you’ll discuss writing techniques and tools, as well as “the place of writing in one’s life.”

“This is an amazing treasure, a gem, the best,” wrote Bernardine Stapleton in a 2017 Facebook review for Ochre House. “The Writing With Care retreat really WAS all about care, thought, being gentle, and guiding the participants.”

Official 2022 dates have yet to be announced. Keep an eye out for more detailed information about location, costs and more.

Cost: TBD; 2020 costs ranged from $1113-1525 CAD ( $851–$1166USD) Meals and accommodations included.

5. Writing Round the Trees: A Transformational Writing Retreat

At this Colorado retreat located near the San Juan National Forest, you’ll “immerse yourself in the wilderness and your writing.”

Using her background in publishing, editing and astrology, host Cassandra Leoncini will lead you through workshops, one-on-one sessions and experiential ceremonies, all the while gaining inspiration from Lilith, the “ancient Tree of Life spirit who seeks embodiment and dramatization in our lives.” 

There aren’t a lot of public reviews for this retreat — though one written by Madonna Kettler on Facebook said, “Great people, great food, and plenty of time to create and BE!” 

Official 2022 dates have yet to be announced. Keep an eye out for more detailed information about location, costs and more. If you don’t want to wait, contact Leoncini to get on the mailing list for 2022!

Cost: TBD; 2020 rate was $800 per person for a private room plus daily meals. 

6. The Writer’s Cruise

Cruise your way to writing success and sail to beautiful destinations with Melinda Copp, a ghostwriter, developmental editor and writing coach. 

Along with a small group of writers, you’ll attend workshops on creative writing, getting published and productivity. On your days in port, you’ll have the chance to explore gorgeous beaches before reuniting with the group for dinner. Best of all: When you’re on the boat, you’ll be free from distractions, ready to do what you came to do — write! 

“One of the most exciting parts about working with Melinda was gaining momentum,” Amy Menna said in a testimonial on Copp’s site. “Melinda was a resource that helped me get my thoughts from my head to the paper… Without Melinda’s program, I would never have had the motivation to move forward.”

Cost: TBD; 2020 costs ranged from $827–$1,056 per person (when booked before December 13, 2019). After that, rates rise $200 per person. 

Disclosure: The Writer’s Cruise is a partner of The Write Life. We hold our advertisers to high standards and vetted this retreat just like the others on this list. 

7. Retreat & Create

A new offering from The Write Life founder Alexis Grant , this retreat is held in the beautiful, historic mountain town of Harpers Ferry, West Virginia, about an hour from Washington, D.C.

This retreat is intimate, with about 10 attendees. It’s not just for writers; it’s open to anyone who’s career-focused and need space and quiet to focus on their work. Several of the events are women-only.

In addition to plenty of work time, the retreat includes an easy-to-moderate hike each morning and a group dinner each night at a local restaurant. Grant emphasizes on the website that all activities are optional, so you can choose to be energized by group conversations or dive deep into solo work time.  

Cost: TBD, but the cost includes four nights accommodation, three meals a day, hikes and a massage.

8. Writers Who Run, Retreat & Race

OK, so this retreat isn’t happening in 2021, but if you’re reading this late in the year, take note it will be running (get it?) again in April 2022 in the mountains of northeastern Georgia.

After a two-mile run each morning, you’ll have a full schedule of workshops, critique groups, writing time and social events. The culminating event is a scenic 5K and 10K race on Saturday morning!

For testimonials, check out these YouTube videos from past participants. 

Cost: TBD; 2019 costs ranged from $1,400–$2,400 per person.

9. Autumn Writing Retreat in the Berkshires

Let autumn in New England be your muse on this five-day retreat with Page Lambert, an instructor of creative writing at the University of Denver’s graduate school.

From October 17-21, you’ll stay at a historic inn, participating in group writing sessions and individual manuscript consultations — and drenching your creativity in the beautiful fall colors. Alternatively, check out Lambert’s 13-day women’s retreat in Peru in 2022 ($4,350).  

Lambert has a lengthy page of testimonials on her website. In one, Paula Hagar said Lambert was “the most awesome writing teacher I’ve ever studied with.” In another, Marsha Rosenzweig Pincus called the Peru trip “one of the most inspirational, spiritual and transcendent experiences of my life.”

Cost: $1,695 per person.

10. TLC Women’s Writing Retreats

Want something a little different?

Schedule your own private retreat with Tammy L. Coia, a memoir-writing coach who lives in Bellingham, Washington. You’ll stay at her house, in a private bedroom with water views. Each day, you’ll have one-on-one coaching alongside home-cooked meals. She offers this at her home in Palm Springs, plus Dahlonega, Georgia as well.

Or, if you’d rather work in a group setting, Coia holds retreats in Mexico in February ($1,950–$2,250), , Greece in May ($3,900–$4,400), and Italy ($2,800–$4,500) and Vermont in October ($1,500–$2,500). 

“Tammy gently leads you through what are often difficult memories to put on paper, but it can prove to be a very healing experience,” Joni Padduck wrote on Facebook . “I highly recommend Tammy! I guarantee it will be a wonderful experience.” 

Cost: $2,400–$3,400 for three- to five-day retreats. 

11. Wake Up and Write Writers Retreat Workshop

For three decades, this retreat — in one form or another — has been providing an immersive learning experience for people writing novels.

It will be held on a 15-acre retreat center outside of Boise, Idaho, where you’ll participate in workshops, intensive writing and one-on-one meetings with industry professionals.

Though the retreat doesn’t have any testimonials or social media reviews, we’re including it because of its longevity. One anonymous testimonial on its site said, “My friend says any workshop/retreat/conference that offers one nugget of insight is worth its weight in gold. If so, the Writers Retreat Workshop made me a wealthy woman.” We’ll just have to take her word for it! 

The retreat is temporarily suspended due to COVID-19. Bookmark it to keep an eye out for developing information about location, costs and more.

Cost: TBD; 2019 rate was $1,895 per person for a single room.

12. The White Mountain Book Writing Retreat

Editor’s note: Due to the coronavirus pandemic, this retreat now offers an online option.

This retreat in the mountains of New Hampshire focuses on two things: self-nurturing and nonfiction book writing. If you keep putting off your book because of, well, life then host Dorothy Holtermann might say this retreat is for you. 

From July 12-17, you’ll learn her “Birth a Book system” through group classes and private coaching, all while feeding your body with farm-to-table organic food and daily yoga classes. If you’re Zooming, you can still join the fun: receive “healthy food goodies” by mail, and enjoy live meditation classes and book writing and performance classes that are sure to be interactive.

On the retreat’s website, a testimonial from Tammy Wetzel said: “My experience was transformative. I came to just work on the mechanics of writing but it was so much more. The holistic experience, the making of friends and ‘letting loose’ helped me discover the ‘soft side’ of writing.” 

Cost: $995 per person to attend from home, $2,455 per person for a private room, or $1,495 per person for tuition only.

13. Wide Open Writing : The Coast of Maine

Interested in spending a week writing from an Adirondack chair on the shores of the Atlantic? This retreat in Boothbay Harbor, Maine, will take place from June 20-26.

It includes writing workshops, a Thai massage, daily yoga — and membership in a “writing community that is devoted to co-creating magic.” Hosts Dulcie Witman and Nancy Coleman offer a March retreat in Mexico ($2,300)  and a September retreat in Italy ($2,650), as well.

On Wide Open Writing’s website, Robin Gaines, author of “Invincible Summers,” wrote: “I came to the retreat expecting a similar experience I’ve had at other writing retreats, the classic workshop style of sharing work and critiquing, but this retreat allowed participants to open up their imaginations to new work, new ideas, all with the support of other writers urging you on. It was dream-like. It was special. I’ll be back.”

Cost: $2,500 per person (does not include all dinners).

14. Unplug and Write: An All-inclusive Writing Retreat in Minnesota

Not only is Jess Lourey a tenured writing professor; she’s also the author of 20 books and counting. When you join this women-only retreat from August 8-14, in St. Paul, Minnesota, you’ll get her tutelage via group workshops and a private coaching session. 

Mornings at the beautifully-restored Summit Avenue mansion will feature meditation, yoga and writing, and afternoons will be yours to read or relax (or keep writing). This retreat is open to female writers of all stripes and stages, including bloggers, novelists, nonfiction authors and memoirists. 

“I had the opportunity to take a workshop from Jess before I was published,” Lissa Marie Redmond, author of “A Cold Day in Hell,” said in a testimonial on Lourey’s site . “Her honesty, encouragement, and knowledge of the craft helped me make the leap from aspiring writer to published author. I still take the lessons I learned from Jess and apply them to my daily writing routine.” 

Cost: $4,600. 

15. The Taos Deep Dive & Revision Writer’s Retreat

Want to get away, but not too far away? Try this women-only retreat in Taos, New Mexico, hosted by author Jennifer Louden from October 24 – 30.

Your fee includes everything: “All lodging and all meals, daily writing seminars, daily yoga classes, on-the-spot writing coaching, plentiful snacks, and love love love.” 

In a testimonial on Louden’s site, an anonymous writer said: “The retreat was honestly life-changing for me because it helped me understand what it is to be a writer.” Plus, Lauren Taylor shared, “The retreat transformed my relationship to my writing.” 

Cost: $2,390–$2,790 per person.

16. Good Contrivance Farm Writer’s Retreat

Located 25 miles north of Baltimore on a six-acre property in historic Reisterstown, Maryland, this writer’s retreat is open to writers of all levels, plus it operates on a first-come, first-served, non-competitive basis. (Although, you still need to submit a resume and one writing sample for admission.)

Good Contrivance Farm is a non-profit dedicated to the preservation and restoration of small, historic farms in Maryland, and it offers the retreat as part of public outreach efforts. 

Directed by Pushcart Prize writer (plus a ton of others) Ron Tanner and his wife Jill Eicher, the retreat offers workshops and readings as well as plenty of alone time for you in the farm’s contemporary loft apartment. 

There aren’t any Facebook reviews, but Harlan Roberts wrote a Google Review , saying, “My wife and I just spent a week here and we both got a LOT of work done! She managed to edit half of her current novel and I finished editing a book of my short stories. Ron Tanner has put together the perfect writing retreat. It’s quiet, comforting and very accessible.” 

Cost : $570 for one person for a weeklong stay (meals and beverages not provided); $670 for two. Discounts are available for longer stays up to four weeks. 

17. Write-by-the-Light Writers Retreat & Workshop

Author of 11 books Julie Tallard Johnson, MSW, LCSW is an educator, counselor and writing sherpa in Wisconsin who uses her five-day retreats as a way to help writers establish a solid foundation for their ideas and writing aspirations. 

The daily syllabus is brimming with writing prompts and opportunities to develop your book’s theme, voice and structure. She promises that if you come with just an idea, you’ll leave with a fully blossomed template for a book, plus knowledge of “simple and constructive ways to write about your experiences and knowledge in a uniquely creative way.”  

After Johnson helps you shape your stories and narrative during this retreat, you’ll know exactly how to bring out your story’s true meaning and complete your book. 

Take it from Moly Chanson, whose testimonial said: “Julie’s teaching style is encouraging and heartfelt, and over the course of the week my mindset shifted from writing as an indulgent hobby to an act of self-expression and service that can actually change the world. … I now have a completed manuscript that is ready to publish, and much of the writing I did at WBTL is in my book!”

Official 2022 dates have yet to be announced. Keep an eye out for more detailed information about location, costs, accomodations and more.

Cost : TBD. 

18.  BOAAT Writer’s Retreat

BOAAT is a literary journal and poetry book publisher that hosts an annual weeklong writer’s retreat in a spacious log cabin in the mountainous Vilas, North Carolina. 

Seven poets get to enjoy one-on-one time with a prominent workshop leader who will lead five group and individual workshop sessions — besides that, writers can use their serene time in the mountaintops to chip away at writing projects, explore nature and workshop their poetry with an established poet. 

Poet Ysabel Y. Gonzalez’s testimonial on the website said her time attending this retreat was “incredibly rewarding” for her poetry and personal well-being. She wrote, “This retreat was half residency and half workshop, which allowed my poetry the opportunity for feedback and critique, along with plenty of down time to generate new work.”

Mexico & Latin America

19 . costa rica retreat for writers and families.

Bring your partner and niños along on poet/children’s writer/playwright Julie Hartley’s creative writing retreat from January 30 to February 6.

You’ll stay at a gorgeous eco-lodge in the heart of the rainforest, with easy access to both hammocks and hikes. Each morning, you’ll participate in creative writing workshops, and you’ll have the afternoon to write or explore. In the evenings, you’ll reconvene with your group for readings and other writerly activities. 

In a 2020 Facebook review , Trish Roberts wrote: “I had an amazing experience at the Costa Rica retreat in 2020. I met a wonderful and diverse group of writers. The writing workshops were well constructed and the group leader, Julie, offered invaluable insights and guidance. … I highly recommend.” 

Cost: $870.10–$1,265.60 per person (does not include lunch or dinner); $395 per child if sharing a room with two adults.

20. VSW Writing Retreats

Run by the Vancouver and Victoria Schools of Writing and hosted by writing coach and author Kathrin Lake, this retreat isn’t a bad deal — especially for Americans. 

It offers group classes and one-on-one coaching in writing and publishing, plus optional dancing and tours. Dates for the seven-day retreat are annual between January and March. Lake hosts one retreat in Canada in  August, too.

In a blog comment, David Pelzer wrote attending Kathrin Lake’s writing retreat in the historic village of Barra de Navidad in Mexico “is a gift to oneself,” saying: “Kathrin creates a supportive, nurturing environment while challenging each participant to explore their work in a deeper and more meaningful way, both in group work and individual coaching sessions. Highly recommended.” 

Cost: TBD; 2020 rate was $1,360 CAD per person (~$1,043 USD) (does not include lunch or most dinners). 

21. Journey Into Sacred Expression Women’s Retreat

I love the sound and attitude of Aimee Hansen’s women-only writing retreats in Guatemala — and from her glimmering reviews , they live up to their promise.  

You’ll stay on Lake Atitlan and enjoy daily yoga, meditation and writing sessions. Guest facilitators will also lead you in Mayan fire, cacao and dance ceremonies. 

“Aimee Hansen’s retreat was wonderful from start to finish,” Jill McGrath wrote in a Facebook review. “I was looking for a women’s retreat to recharge my poetry writing and to connect to my spirituality via yoga, meditation, and nature. The retreat far exceeded my expectations.”

Cost: TBD; 2020 costs ranged from $1,575–$1,895 per person (private rooms are an extra $300–$400).

22. Story Quest — Costa Rica

Make progress on your novel or memoir while staying on the lush beaches of Nosara, Costa Rica. 

During this “ultimate writing adventure,” authors Doug Kurtz and Dan Manzanares will teach you their “Story Map” curriculum, which covers characters; plot; and theme, setting and voice. The retreat includes six days and more than 30 hours of instruction, plus group and individual coaching sessions, happy hours and yoga. 

On Facebook , Evon Michelle Davis wrote, “The Story Quest workshop blew my mind! I have an MFA, but what I learned took my writing to a whole new level. Doug, Dan, and Doug’s wife, Cat, went out of their way to attend to the needs of the retreat participants.”

Cost: $1,695–$2,995 per person. 

23. Under the Volcano

Typically held in the Mexican village of Tepoztlán, this respected nonprofit program will hold its 18th annual retreat in cyberspace over a three-week period from April 9-30. The program, which is highly selective, requires a writing sample for admission. 

As an “incubator of literary talent,” it’s intended for “committed writers with projects underway.” Since it’s gone from one week to three, the 2021 program will combine master classes, intimate gatherings and craft talks, agent presentations plus optional pitch sessions, and even a weekly social that brings together participants from around the world. 

“Under the Volcano is not just about the writing,” said Natalie Hart, according to the program’s website. “It is a personal journey. Never has a combination of place, people and programme felt so powerful and inspiring.” 

Cost: $995 per person, plus a $450 auditor fee per masterclass.  Financial aid is available.

24. Creative Revolution Retreat

Leigh Shulman invites you to choose your own retreat dates — and join her anytime in Salta, Argentina. This retreat is meant for people at any stage of writing a book, or for those who want to start writing but need some guidance. 

Over eight days, you’ll enjoy intensive writing workshops tailored to your project, yoga, cultural activities, a massage and a private apartment in a bustling city center. Space is limited and the host prefers an intimate retreat, so grab a couple of friends and book a date.

“The retreat met and exceeded my expectations,” Kathleen Evans said in a testimonial on Shulman’s site. “Each day I could feel the progress during this retreat, and I feel that I’ve really grown. My writing has matured, and I have a solid plan and an idea of where I want to go with my writing project.” (She tweeted about it , too.)

Cost: $2,500 per person. Scholarships are available.

25. The Right Place to Write

Who doesn’t want breath-taking views of mountains, valleys and the ocean as writing fodder? 

Join publishing powerhouses Dawn James and Tenita Johnson on their seven-day Costa Rican retreat, where you’ll have plenty of time to write, reflect and learn with a “dedicated team of publishing professionals to support, inspire and guide you.”

From March 25-31, you’ll get to expand your creativity through in-depth workshops and individual consultations with a writing coach and publishing strategist, feedback on written work and accountability partners. 

But first, you have to get through a clarity call with either James or Johnson to discuss your project and your commitment to publishing your work. You’ll also have to submit a book synopsis (if you haven’t started writing) to the editor or up to 12 pages of the work you hope to shape at the retreat — that way, she can prepare feedback for your one-on-one editorial session.

On the retreats testimonial page, Jen wrote, “This retreat taught me to have confidence in my voice and my writing. I also learned the business side of becoming an author. It was an incredible week!”

Cost : $1,895 until December 31, 2020; $2,195 after.

26. Retreats for You

Debbie Flint, the owner of a picturesque 17th-century thatched house in southwest England, runs a variety of retreats throughout the year. (Importantly, they all come with home-cooked meals and resident labradors you can walk through the countryside.)

Author Alison May, for example, is running three “Developing Your Novel” retreats from March 8-12, June 7-11, and November 1-5. If you can’t make those dates, author Rebecca Horsefall is hosting a five-night “Develop Your  Novel” retreat from February 22-27. There are also several “General Just Write” Retreats to consider, too. 

The center, which welcomes groups, has a five-star rating on Facebook with more than 80 reviews. “The house is gorgeous and comfortable; the food is delicious, and there is always home-made cake,” Anita Chapman wrote . “Alison is a fantastic tutor who knows a great deal, delivering it beautifully; and she has a real interest in her students’ projects.”

Cost: £595 (~$705 USD) per person.

27. Alpine Writers’ Retreat

If you’re looking for basically a writing residency, with a bit of tutelage thrown in, this new retreat might be of interest. 

To enable attendants to focus on their writing,  published novelist Valeria Vescina will lead small group retreats — max of three people! — in the Swiss Alps. You’ll enjoy a 90-minute writing workshop in the morning, then have the rest of the day to conquer those blank pages. After dinner, you can also participate in readings or group discussions. 

Though she doesn’t have any reviews yet, Vescina’s creative writing workshops at a library and high school have received positive feedback .  

Cost: TBD; 2019 rate was £600 (~$711 USD) per person for your own room. Dinners will be prepared by the host, with your help. Other dates may be available; inquire with Vescina.

28. The Leopardi Writing Conference

When you attend this retreat in the medieval town of Le Marche, Italy, its hosts promise you’ll get a glimpse of “authentic Italian country life.” 

This “immersive program for new and experienced authors” takes place in July 2021. It includes workshops and talks on fiction, nonfiction and poetry, as well as opportunities for expert feedback on your writing project. 

The retreat has several reviews on Facebook, including this recent one from Kelly Leonora: “Excellent and personal instruction in a small group setting, surrounded by beauty and inspiration. It exceeded expectations!”

Cost: $975 (does not include accommodation or meals). Partial scholarships are available.

29. Verse Kraken Writing Retreat

This weeklong retreat in Brittany, France in July is taught by authors Claire Trévien and Tori Truslow. (Trévien’s debut poetry collection was the reader’s choice in the Guardian’s first book award .)

They promise you’ll “engage with the environment” by exploring local culture, food and literature — and engage with your words through workshops, tutorials and independent writing time. Writers of all genres are welcome and encouraged. 

“This has been such a wonderfully restorative experience, one that has made me realise how starved of inspiration I’ve been for the last year,” Quen Took wrote on Twitter . “I want to carry this experience with me & use it to make my life a better, more joyous place.”

Cost: £850 ($1,007 USD) per person. £500 ($593 USD) £450–£500 (~$576–$641 US) per person without lodging or breakfast.

30 . Black Sea Writing Retreat

Pumped to include a getaway in Romania — a lovely country that deserves more visitors! At this seaside retreat, you’ll receive practical instruction in writing and editing, as well as one-on-one critiques of your work. 

Also included in the cost are Romanian language classes, a food tasting and trips to historical sites in Romania and Bulgaria. The host offers more retreats in Ireland in May (for travel writing), June and September, and Paris in October.

“This is a special place in the world, a magical place,” Denise Stablein wrote in a testimonial on the site. “The Irish and local authors both entertained us and challenged us to be like them. They are real people. The combination of writing with immersion in the culture cannot be duplicated anywhere else. The land, the sea and the people are delightful.” 

Cost: TBD; 2020 rate was €1290 per person (~$1,528 USD).

31. Iceland Writers Retreat

At this retreat, it seems like you get what you pay for: intimate workshops and panels with award-winning authors like David Chariandy and Kristín Helga Gunnarsdóttir.

You’ll also have dedicated writing time and the opportunity to explore the incredible country of Iceland, with outings led by contemporary Icelandic writers. It runs April 29 to May 3, 2020.

On Facebook, Christine Wilkins Blackford wrote : “IWR is the best organized, the most productive and the most jam-packed full of fun I have ever had at a writers’ retreat. Going again this year. Can’t wait!”

Cost: 198,000 ISK (~$1,586 US) per person (does not include lodging and most meals). Scholarships available.

32. Write Away Europe — Plovdiv

Looking for a place where your “soul and creative spirit will soar”? Travel to the 2019 European “Capital of Culture” — the charming Bulgarian town of Plovdiv — from July 18-24, 2021. 

Your hosts will be Lisa Howe, a professional editor; Scott Stavrou, a novelist and writing instructor; and George Crane, a published author and writing instructor. You’ll participate in writing workshops, one-on-one mentoring sessions and nightly social hours, all while staying in the heart of a historic city.  

Write Away Europe also hosts retreats in Greece in May, Italy in June and France in September. It has several Facebook reviews, including one from Amy Lynn, who attended the Plovdiv retreat in 2019. “This program is phenomenal,” she wrote . “Every day there is individual attention to each writer’s projects. [They] used their expertise to really help me hone in on my craft—from plot to sentence structure, their attention was extremely valuable and helpful to me… The experience changed me as a writer.”

Cost: $1,850 per person (does not include lunch).

33. The Creative Writer’s Workshop: Fiction & Autobiographical Fiction

Learn to tell your story while escaping to the mythical Irish island of Inis Mór from July 11-18 or September  5-11. 

In addition to writing workshops with host Irene Graham, you’ll enjoy guided walks and tours of the remote island. Graham also hosts two memoir-specific retreats in June and September. 

“I am quite a different writer leaving this retreat than I was on arrival,” Kris Mescher wrote on Graham’s site. “I now know what story development is. My purpose is clear. I am freer to follow my internal creative sense.”

Cost: €1,675 ($1,885 USD) per person for a private room in July; €1,650 ($1,950 USD) in September (does not include all meals).

34. Women Reading Aloud — Greece

In June, writer and poet Julie Maloney will bring her women’s retreat to the Greek island of Alonnisos for the tenth straight year.

You’ll stay in a family-owned guest house overlooking the Aegean sea. Each morning, you’ll participate in writing workshops, and each afternoon, you’ll have free time to explore your surroundings. One night, you’ll also partake in a sunset dinner cruise (swoon!). 

“I have attended the Alonnisos Writing Retreat with [Women Reading Aloud] for three years and each year I come away fuller, richer, and more excited about my writing,” said a testimonial from Lynne Rosenfeld on Maloney’s site. “I have grown so much as a woman and a writer.” 

Cost: TBD; 2020 rate was $2,425 per person for a private room (includes breakfast and three dinners).

35. Ireland Writing Retreat on the Wild Atlantic Way

Authors Carolyn Flynn and Jona Kottler invite fiction and creative nonfiction writers to join them at the Delphi Resort near Galway for a “generative and restorative retreat.”  

You’ll receive mentored critique, individual consultations, group talks on topics like story architecture, narrative flow and dialogue — and time to wander the mountains of Connemara. 

“The inspiration from… Ireland is still shining bright,” 2019 participant Cathy Wade wrote in a Facebook post. “The retreat had a profound impact on my writing and my confidence in my writing.”

Cost: TBD; 2019 rate was $2,295–$2,495 per person if booked before February 1, 2020, after which cost increases $100–$200 (includes breakfast and most dinners).

36. Your Beautiful Writing Life Retreat

Because no one can get enough of Italy: three-time novelist Vanessa Carvale’s three-night retreat will be held at a villa a few miles from the historical city of Florence.

It’ll include craft-based and coaching workshops, personalized manuscript feedback and even an onsite pasta-making class. Carvale hosts a retreat in Australia, as well. 

“I came in incredibly blocked and stressed about the project I was working on,” Josephine Moon, author of “The Beekeeper’s Secret,” said in a testimonial on Carvale’s site. “[A]nd I’m leaving with a new project that feels totally right, that I’m excited about.”

Cost: $2,450 per person.

37. Krouna Writing Workshop

Travel with novelist and writing instructor Henriette Lazaridis to her ancestral home in the mountains of northern Greece, where you’ll enjoy group workshops, individual coaching and lots of time to write.

To apply, you must submit a 10-page writing sample. And before attending the retreat from July 25-31, you’ll also need to submit a paragraph explaining why you want to participate in the workshop. 

“Krouna Writing Workshop is an amazing experience led by a brilliant, caring person in one of Greece’s most gorgeous landscapes, and I would attend again in a heartbeat,” Elene Catrakilis wrote in a Facebook review . “I received kind, constructive and incisive feedback, both written and verbal with respect to my manuscript.” 

Cost: $2,500 per person (does not include breakfast or dinner, but it does include round-trip transportation from Ioannina to Papingo by car).

38. Get Away to Write — Spain

Murphy Writing of Stockton University will hold its 11th international retreat in northern Spain.

The retreat, led by award-winning authors Peter E. Murphy, Roberta Clipper and Christine E. Salvatore, is open to fiction writers, memoirists and poets. It includes workshops, feedback sessions, plentiful writing time and an excursion to Barcelona.

In a Facebook review for Murphy Writing, Helen Chibnik said: “In addition to providing reliably gifted, supportive, and working writers as guides, the workshops are well-balanced, productive, and a whole lot of fun – worth every penny.”

Murphy Writing also hosts a March retreat in Florida for $1,500–$1,700 per person.

Cost: $2,500–$2,700 per person (scholarships and early registration discounts available).

39. Hamlet’s Hideaway

This all-inclusive retreat will be held in Denmark from August 8-14. You’ll stay in the shadow of Fredensborg Palace, a “magical setting to dream and create.” 

Hosts Shawna Kenney, an author, and Anja Klemp Vilgaard, a journalist, will lead you in one-on-one sessions and daily writing workshops. Both new and experienced writers are welcome.

Among the retreat’s five positive Facebook reviews , this one from Karen Halasa stood out: “Hamlets Hideaway was an experience of a lifetime, a crucible of creativity in a luxurious setting of natural beauty. The feedback provided by the organisers and other participants was encouraging and constructive, the place conducive to writing.” 

Cost: $2,700 per person.

40. A Writer Within — Tuscany

Spend a week at a historic villa in Tuscany — complete with your own private chef — at this women-only retreat from May 21- 27, 2022 or May 29 – June 4, 2022.

In the mornings, author Kathryn Kay will lead group writing sessions that focus on craft and the creative process. Afternoons will be for writing, one-on-one sessions and group outings to nearby towns and sites. In the evenings, you’ll share your work and reflect on the day (over wine).

Kay has written and video testimonials on her site. A recent review from Marisa Brown said: “I said ‘yes’ to the dream of a writing retreat, and what better guide than Kathryn Kay to make that dream become a reality. As a workshop leader, Kathryn is gracious, grounded and focused. This was truly an all-encompassing experience of exploring myself and my writing.”

Cost: $2,900–$3,700 per person.

41. GoodWorld Journeys Literary Salons on Patmos, Greece

You’ll get to work with some BIG names at this pair of 10-day literary salons in Greece. 

The first retreat in May features the poets Kaveh Akbar, Terrance Hayes and Mary Karr, who will guide you through discussions, in-class exercises and informal workshops. During the second, in June, Karr is joined by the legendary George Saunders to focus on personal essays, memoirs and short stories. 

“The Salon experience was intimate, and structured in a relaxed and informal way but also enabled me to gain valuable writing knowledge, skills, and affirmation,” Josephine Dempsey said in a testimonial on the retreat site. “Yes, a life changing experience!”

Cost : TBD; 2020 rate was $3,450–$3,950 per person (includes breakfast and two dinners). Scholarships and early-bird registration discounts available.

42. Stone + Wildflower Writing Retreat

At this (warning: $$$) retreat, founder Malika Ali Harding says, “We’ll gather seaside to make poems from wildflowers, short stories from stone, and reimagine Nordic fairytales by the fire.” It takes place at Norway’s stunning Arctic Hideaway from September 18-21, 2020.

This retreat is more focused on activities — like sunrise yoga, pebble stacking and wildlife viewing — than on coaching or critiquing, but allows time for writing and reflection, too.

“Traveling with Story Rebels allowed me to have the time and space to be creative,” Amanda Ponzio-Mouttaki said in a testimonial on the site. “With all the details sorted, I could relax and focus on writing, surrounded by others with a similar drive.”

Cost: TBD; 2020 rate was €4290–€4690 (~$4,753–$5,196 US) per person.

43. Loire Writers Retreat

Writers, authors, poets, academics, screen and songwriters in search of a “creative haven to find their inner voice, develop their craft and begin or complete their story” will find solace in this retreat’s nurturing environment. 

Located in central France’s Loire Valley and close to the historic town of Saumur, this retreat for writers offers a tranquil space for you to focus on your writing. 

Whether you stay for one week or four in 2022, hosts Iris and Derrick Mathews ensure your only responsibility will be to unleash your creativity — and you know they mean it because they even handle the cooking and cleaning for you. When you need a writing break, enjoy one complimentary holistic therapy session plus access to bicycles to explore the French countryside. 

“Thank you for a wonderful Writing Retreat,” said author Tony Macaulay in a testimonial on the site. “You have created the perfect place for writers to get away from it all, to relax, focus and simply write.”

Cost : £784 ($1,047 USD) per person per week. 

44. Vacation Writing  

From September 26 to October 2, discover your story in Ragusa, one of the most picturesque towns of southern Sicily. Whether you need to dust off a project, start or complete one, this (albeit pricey) retreat might be the restorative experience you need. 

Besides one daily writing workshop led by an author, you’re encouraged to use this time to generate new work, overcome writing blocks, simply keep writing — or sleep in as much as you can. In your free time, connect with the writers you’ll share a villa with or find inspiration in the architecture colors, tastes and sounds of Sicily.

Oh, and this isn’t too shabby: A private onsite chef will prepare all your meals and snacks. This fairly new retreat doesn’t have any reviews just yet, but the details look very promising. 

Cost : $3,000 for shared accommodations, $4,500 for a private room and $5,500 for couples (with only one person a part of the retreat). 

45. Melete Writing Retreats

If you’re a fiction writer, TV or screenwriter, you need to be at this week-long, immersive retreat in Piedmont, Italy between the months of May and July. 

The learning experiences found in each retreat session will be led by Harvard faculty and acclaimed authors, playwrights, screenwriters and TV writers. (No big deal.) It takes place at the historic Marchesi Incisa della Rocchetta estate, where a typical day includes readings, two-hour group manuscript workshops and one-hour one-on-one conferences — all al fresco if the weather is agreeable. 

Besides writing time, you can explore the national park and golf course located nearby, not to mention the cooking classes and wine and cheese tours. “Join us,” the site says, “and we will nurture your creativity as you deepen your process and build community.”

To get in, you’ll need to submit a cover letter or resume and writing sample. Although reviews or testimonials weren’t available, know that finetuning your craft in Piedmont puts you in great company: authors like Charles Dickens, Tolstoy, Mark Twain, Ernest Hemingway and Natalia Ginzburg have all spent time writing in and about this region.

Cost : $2,675 per session (includes continental breakfast with room service and daily housekeeping service).

46. Words Wanderlust

How many writers can say they spent six days writing in the old-world streets of Tbilisi, Georgia? Between the vineyards with an 8,000-year-old history of winemaking and the ancient  monasteries, you might not ever want to leave this retreat for writers. 

From June 6-12, this retreat invites you and a small group of writers to accomplish three things: explore, escape, write. 

“Nurture your creativity, develop your work-in-progress or jumpstart your writing project” through writing sessions and daily creative writing classes led by award-winning authors. In addition to that, talks by international and local authors, personal consultations with writing tutors — and, of course, tours to Georgia’s countryside for wine and cheese tastings.

While you’re here, enjoy a private room in a stunning boutique hotel plus the opportunity to roam hidden gems in your spare time. Writers at any level are welcome, and course topics include: plotting and structuring your novel, turning life into story, creating compelling characters and getting your work published. 

Cost : $1,695 (not all dinners are included).

47. The Moth Retreat For Artists And Writers

“The Moth Retreat was exactly what I was looking for,” writes Susan Allot on the retreat’s website. “A converted barn all to myself, fresh veg[etables] from the garden and a daily delivery of eggs. Beautiful countryside on the doorstep. I managed about a month’s worth of writing condensed into one inspired week.”

For writers of any discipline looking to experience this along a beautiful country lane in Ireland, this retreat may be for you. You’ll be surrounded by the country’s famed lakes and joined by three dogs and a flock of hens. 

While you’re free to spend your time as your please, there’s Wi-Fi, a writing desk and an easel to use to work, plus a bike to explore the area. 

The Moth Magazine publishers Rebecca O’Connor and Will Govan will be available if you need any assistance. You won’t find guided writing workshops here, but you’ll certainly find the solitude and silence needed to finish that novel. 

Apply to find out when you can book this retreat in 2022! 

Cost : €400 a week ($476 USD), plus a €100 ($119 USD) fee to bring a partner or friend; a minimum stay of 1 week is required; self-catered.

Asia, Africa & Middle East

48. writing retreat in south africa.

Boy does this sound dreamy! You’ll stay at a farmhouse a few hours from Cape Town, enjoying morning classes and afternoon free writes (and countryside walks).  

In the evening, writing coach and literary agent Sarah Bullen will lead sessions focusing on everything from genre to character development to approaching publishers. It all goes down March 10-14. Along with the author Kate Emmerson, Bullen also hosts a retreat in Greece in June and Italy in September.

“I recently attended the writers retreat and residency at Skala Eressor [sic],” Mary-Joe Emde wrote in a Facebook review . “This has been the most profound retreat I have ever done. Kate and Sarah are masters at creating a space for creativity and writing skills. I loved every moment of it and would recommend this to every aspiring writer.”

Cost: 7,900–11,700 South African rand (~$514–$761 USD) per person. 

49. Write Your Journey — Vietnam

You’ll take a cooking class, boat to an ancient town, practice daily yoga, get a sound bowl massage — and, oh yeah, write — during this retreat at a boutique resort in Hoi An.

In September, former academic and published author Kerstin Pilz will guide you in group and one-on-one writing sessions — all while exploring “authentic Vietnam” to “ignite your creativity.” 

This retreat has an abundance of reviews on TripAdvisor and Facebook . Julie B., for example, wrote : “It’s hard for me to explain the magic that happened in the retreat – very much thanks to beautiful and expert facilitation by Kirsten and wonderful service from the team she has in place. Whether you think you are a writer or not, this is definitely the place to find out…it was a truly fantastic and beautiful experience!”

Cost: $1,950. 

50. Writer’s Retreat in Tel Aviv-Jaffa, Israel

Want to explore the cosmopolitan city of Tel Aviv while sharing stories and making new friends? This women-only, Pink Pangea retreat might be for you.  

In addition to exploring Tel Aviv’s markets and history, you’ll participate in daily writing workshops, get guidance on pitching stories and connect with other women writers. The company also hosts retreats in other countries like France, Switzerland or Greece throughout the year.

According to a testimonial on the Pink Pangea site, Bobbie Traut said: “I met wonderful writers and had the chance to share stories with strangers who later became friends. By minimizing distractions and removing myself from my day-to-day schedule, I found that the creativity flowed.”

2022 dates have yet to be announced. Keep an eye out for more detailed information about location, costs and more.

Cost: $1,080–$1,280 per person (does not include lunch or dinner).

51. Indian Summer House Writers’ Retreat 

At this luscious boutique hotel in southern India, you can attend a writers retreat in March or October, or set up your own dates upon request. 

In addition to morning yoga and meditation, “tantalising” meals and cultural activities, you’ll have daily writing workshops, evening reading sessions and abundant writing time. 

In a recent TripAdvisor review , user shonee2018 gave their experience an “excellent” rating. “Time has this lovely pace in India,” they wrote. “It seems to pass even more gently at Indian Summer House during our daily writer’s workshops with Caroline Van De Pol, readings and discussions to reflect and share our work with others or enjoying the outdoor showers, having a drink in the coconut lounge, jumping into the pool two, three times a day or relaxing at the spa.” 

Cost: TBD; 2020 costs ranged from $2,190–$2,990 AUD (~$1,494–$2,040 USD) per person. 

52. Himalayan Writers Retreat

On this 10-day retreat in the Indian Himalayas from March 31 to April 10, maybe you’ll find the solace you need to finish that important project. 

Each retreat has a guest leader, plus two resident facilitators: a psychologist and an author. They’ll guide you through everything from discussions to long walks, bonfires, yoga and pottery. Aside from airfare, everything is included in the price — airport transfers, food and even a trip to the Taj Mahal!

This retreat has more than 100 five-star Google reviews. In a recent one , Ramanjaneya Sharaph wrote: “The workshop covers all aspects, from the science and craft of writing, to getting published. This is a workshop in the true sense of the word. There are enough hands on [sic] writing exercises, with feedback from the course leader and other participants, that helps better understand the concepts.” 

Cost: $2,800 per person.

53. Writing on Water — Inner Mongolia

Ready for a real adventure? At this retreat, you’ll stay in a luxury hotel in Inner Mongolia, an autonomous region of northern China.

You’ll participate in creative writing and movement workshops, attend historical and cultural tours, and gain a deeper understanding of this unique part of the world. Plus, you’ll meet guest artist Rahna Reiko Rizzuto, the award-winning author of two novels and one memoir. The organizers also host retreats in Australia and Croatia.    

Although no social media reviews are available, Nicole Reed wrote in a website testimonial: “The week I spent with Writing on Water was a powerful experience. I was able to discover myself as a writer.”

Cost: TBD ; 2020 costs ranged from $2,975–$3,375 per person.

54. The Cape Town Writers Retreat

This five-day retreat is hosted by Rohm Literary Agency and led by best-selling author and literary agent Wendy Goldman Rohm. 

Fiction and nonfiction writers, poets, filmmakers and playwrights of all levels are welcomed to attend this private retreat in the heart of Cape Town to accomplish whatever they’d like: create new material, develop ideas or shape works-in-progress.

Here, “story and manuscript development come alive.” As information becomes available for Cape Town’s 2022 retreat, check out these additional opportunities:

Maui, Hawaii: January 18-22 ($2,395) Biarritz, France: March 5-7 ($875) Paris, France: March 19-21 ($850) Andros, Greece: May 16-21 ($2,245)

“I will bask in the creative afterglow of Wendy Goldman Rohm’s writers’ courses for a long, long time,” writes Margaret Atwood’s literary agent Phoebe Larmore on the website. “During my many years as a literary agent, I attended numerous writers conferences, but none of them came close to the extraordinary events for writers that Wendy presents. Wendy … has the gift of inspiring writers to expand their visions and hone their crafts, and of sensibly instructing them how the publishing world works.”

Cost : TBD; 2020 rate was $1,550 (not including lunch and dinner). Scholarships available. 

Have you attended any of these writing retreats? Have any others to recommend? We’d love to hear your thoughts in the comments below.

This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

Photo via MRProduction / Shutterstock  

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Incredible Writing Retreats to Attend in 2022

• on Nov 11, 2021
• in Writing Tips
• Last update: January 4th, 2024

Note: Be sure to check out the 2023 writing retreats list!

If you’re a passionate writer then you know that having a dedicated time just for writing is one of the things that lifts up your spirit and boosts your creativity. However, everyday life duties and responsibilities just get in the way of that. Take a look at these incredible writing retreats in 2022 for a much needed break from everyday life and pour all of your focus on relaxing, meeting fellow writers and of course, writing!

A Retreat in Princes’ Islands

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Have you settled on a writing retreat yet? Don’t hold back, whether you’re a beginner or a master of writing, there’s a place for every logophile!

Read more here.

The Comprehensive List of 2024 Writing Contests

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12 (Warm) Writing Conferences in January 2022

Erica Verrillo

Curiosity Never Killed the Writer

I t’s no accident that so many writing conferences are held in warm places during the coldest month of the year. We all dream of sunshine during those chilly, dark days. And wouldn’t it be nice to spend those dark days doing what we like best — writing?

Fortunately for us, there are a dozen delightful conferences this January held in places we would rather be.

If you miss your ideal conference this year, don’t worry. Many of these are annual events, and quite a few offer scholarships. (Apply early!)

You can find a full list of conferences here: Writing Conferences .

______________________

Kaz Conference Keep Writing Nonfiction and Memoir Cohort — JANUARY/FEB 2022 (5 weeks) meeting Wednesdays Jan 5 — Feb 2 from 2 to 4PM EST. Are you a nonfiction writer working on a memoir? For 5 weeks beginning 2022 just 6–8 writers will gather via ZOOM — at each workshop two writers will workshop 10 to 16 pages of a work of creative nonfiction/memoir. Virtual workshop tuition: $375 for 5 weeks — includes at least two reviews of your writing samples from Donna Kaz and your cohort. Apply by December 4, 2021.

Key West Literary Seminar . January 6–9, 2022 (seminar) and January 10–14, 2022 (workshop), Key West, Florida. The seminar offers readings, lectures, and conversations with poets, fiction writers, and nonfiction writers on the topic of “A Seminar Named Desire.” For “A Seminar Named Desire” we’re interested in literary explorations of the profane and the profound, the inventive, the graphic, and the deeply felt. This will be a unique gathering of some of today’s most acclaimed writers in conversation about the elemental urge at the center of human activity: desire.

Pacific University Master of Fine Arts in Writing Residency Writers Conference . January 6–16, 2022: Seaside, OR. January 16–26, 2022: Forest Grove, Oregon. Writers seeking to deepen their craft and expand their professional community are invited to attend the Residency Writers Conference together with MFA students, faculty and guest speakers. Join us for 10 full days of craft talks, workshops, panels, classes, readings and more featuring some of the best minds of the literary world. This residency is a rare opportunity to engage in sustained and meaningful conversation with others who share your passion for the art of writing.

Kaz Conference Writing Workshop is a 5-week playwriting / screenwriting intensive for women writers. The intensive takes place via ZOOM. Each week we will read and discuss two to three submitted plays/screenplays using the Liz Lerman Critical Response Process as a base for our critique. Writers receive two critiques of 10 to 30 pages from Kaz and the rest of the cohort. COST: $375.00. For women writers only. DATES: The Intensive will meet from 1–3PM on Thursdays beginning January 6, 2022. To APPLY — GUIDELINES FOR SUBMISSION: 1) Submit 5 to 10 pages of your best piece of playwriting. Apply by November 30, 2021.

Palm Beach Poetry Festival . January 10–15, 2022: Delray Beach, Florida. Workshop Faculty Poets: Kim Addonizio, Laure-Anne Bosselaar, Chard deNiord, Mark Doty, Yona Harvey, John Murillo, Matthew Olzmann, and Diane Seuss. Will be held online .

TMW January Jumpstart . January 14–15, 2022. “We will have a “Meet and Greet” session Friday from 7 p.m. — 8 p.m. Eastern. On Saturday there will be concurrent Poetry and Fiction morning sessions from 9:30 a.m. — 12:30 p.m. Eastern, and afternoon sessions from 1:30–4:30 Eastern. Zoom access will be made available in January after registration fees are paid.” Registration $60.

Colrain Classic . January 14–17, 2022: Arlington, Vermont. “The Colrain Manuscript Classic is a highly focused, 3.5 day conference designed for poets with manuscripts in progress. The Classic features in-depth pre-conference work and candid, realistic evaluation and feedback from nationally-known poets, editors and publishers. In preparation, participants work at home on pre-conference assignments and then, in the workshop, review, arrange, and winnow their work based on the pre-conference work. In addition to the manuscript preparation workshop and editor sessions, there will be an editorial Q&A, and an after-conference strategy session.” Will be conducted online .

Winter Poetry & Prose Getaway . January 14–17, 2022, Atlantic City, New Jersey. Workshops in poetry, fiction, and creative nonfiction, as well as craft talks, one-on-one tutorials, featured readings, and open mics. Tuition, which includes some meals, ranges from $490 to $690, depending on the workshop; lodging is not included.

Eckerd College Writers in Paradise Conference . January 15–22, 2022, St. Petersburg, FL. Workshops, roundtables, panel discussions, Q&As, readings book signings, and receptions. The faculty includes Emily Bernard, Laura Lippman, Ann Hood, Andre Dubus III, Michael Koryta, Stewart O’Nan, Ana Menéndez, and many more. Required mask wearing while indoors. All faculty, staff, and volunteers must show proof of vaccination, while students must either show proof of vaccination or a negative COVID-19 test result. Application period runs from August 1 to November 1.

Breakout Novel Graduate Learning Retreat . January 17 — January 23, 2022: Tampa, Florida. An intensive week of critiques, one-on-one sessions, query clinics, brainstorming and writing. Limited to 16 students. Will be held virtually .

Writing By Writers GET THE LEAD OUT! January 21–23, 2022, Online . This workshop brings all levels of writers together for a weekend of inspiration, craft and the generation of new work. Faculty: Gina Frangello, Pam Houston & J. Drew Lanham. Tuition: $750 includes one three-day workshop, admittance to all craft talks and readings.

Kaua’i Writers’ Retreat . January 23–29, 2022: Kaua’i, Hawaii. Live and write among the plumeria, hibiscus, and beauty of Po’ipū, Kaua’i. Once you arrive on-island, each day is designed to provide inspirational, intensive craft instruction in the morning, followed by afternoons to read, write, explore, and enjoy the island, and evening gatherings to attend as you see fit. All residency events are optional: your time is your own, to read, write, revise, and be .

Like this article? For more articles about the publishing world, useful tips on how to get an agent, agents who are looking for clients, how to market and promote your work, building your online platform, how to get reviews, self-publishing, as well as publishers accepting manuscripts directly from writers (no agent required) visit Publishing and Other Forms of Insanity .

Written by Erica Verrillo

Helping writers get published and bolstering their flagging spirits at http://publishedtodeath.blogspot.com/

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The Top 25 Writers’ Conferences in 2022

January 11, 2022 6 min read Education Workshops

By Author Phoebe A. Lee

  Another year means another year of writers conferences! Below is a list of 2022's best in-person and virtual writers conferences, workshops and retreats in North America to help you along your writing journey.

*Note: Please check COVID-19 rules and restrictions before booking any in-person tickets.

1.  Pacific Oregon University Residency Writers Conference

Writers looking to improve their craft will be in residency with MFA students, faculty and guest speakers. Presentations and events include craft talks, workshops, classes and readings.

The residency includes lunches and lodging at Best Western Ocean View Resort in Seaside. Students and faculty will have their own private rooms.

When: January 6-16, 2022; June 16-26, 2022

Where: January – on the northern Oregon Coast in the small, resort town of Seaside  June – on Pacific University’s campus in Forest Grove

2.  2022 North Island Writers Conference

Throughout the month of January, notable Canadian writers of all genres will host a writing workshop . Options to register for individual sessions.

Check for prices – some sessions are free and others are not. Open to the public.

When: January 7-23, 2022

Where: Virtual

3.  2022 Moravian Writers’ Conference

A free conference for writers, activists, medical practitioners and narrative medicine specialists on writing about health, healthcare and justice. 

When: March 18-19, 2022

Where:  Online and in-person ( Moravian University, 1200 Main Street, Bethlehem, PA)

4.  Let’s Just Write! An Uncommon Writers Conference

Presented by the Chicago Writers Association, the conference features two-days of in-person conference in Chicago with over 20 presenters, workshops, sessions, and panels on storytelling, publicity, and all other things that a writer needs to know, even a panel on what writers can learn from sports psychology . 

When: March 19-20, 2022

Where: The Warwick Allerton Hotel,  701 North Michigan Avenue, Chicago, IL 

5.  Association of Writers and Writing Programs Conference

For writers, teachers, students, editors and publishers. One of the biggest and prestigious writing conferences in North America, attracting thousands of attendees.

Events include panels, discussion rooms, pedagogy events and readings. There are in-person and virtual events, or a virtual-only registration option.

When: March 23-26, 2022

Where:  Virtual and in-person ( Pennsylvania Convention Centre, 1101 Arch Street, Philadelphia, PA)

6.  University of North Dakota Writers Conference

A three-day conference featuring six to eight authors, who will be discussing their work and engaging with the community. Past authors include Gwendolyn Brooks, Tommy Orange and Colson Whitehead. All events are free and open to the public.

When: March 24-26, 2022

Where: In-person and online

7.  Breakout Novel Intensive 2.0

Taught by literary agent and author, Donald Maass of the Donald Maass Literary Agency. Ideal for new writers or writers starting a new project, the breakout fundamentals will cover strong characters , inner conflict, personal stakes , plot layers, powerful scenes and more. In-person and virtual options.

When: April 18-24, 2022

Where: Hood River, Oregon

When: June 13-19, 2022

8.  Nebraska Writers Guild Annual Conference

A three-day event with a writers retreat and breakout classes. Experts in the industry teach and share their insights on the writing business and craft. More details to be announced.

When: April 21-23, 2022

Where: Comfort Inn and Suites,  7007 Grover Street, Omaha, NE

9.  Nonfiction Writers Conference

Taking the traditional writers conference model and redesigning it specifically for nonfiction authors, the Nonfiction Writers Conference helps nonfiction writers find the best publishing path, marketing methods, uncover business and revenue opportunities, and build a powerful platform. Held entirely online.

When: May 4-6, 2022

10.  Atlanta Writers Conference

The Atlanta Writers Club is presenting the 26 th Atlanta Writers Conference in-person with virtual options. Writers will be given a chance to access 18 top publishing acquisitions editors and literary agents who are actively seeking new clients. There will be Q&A panels and help with getting your work ready.

When: May 6-7, 2022

Where: Westin Atlanta Airport Hotel,  4736 Best Road, Atlanta, GA 

11.  2022 Washington Writers Conference

Attendees get to pitch to three literary agents , as well as network with industry professionals and fellow writers and attend expert sessions.

When: May 13-14, 2022

Where: Bethesda North Marriott Hotel and Conference Centre,  5701 Marinelli Road,  Rockville, MD

Want to learn how to become a freelance writer?   Book a 1-on-1 consultation   with Freelance Writer Mike Pietrzak.

12.  Annual BIO Conference

Hosted by the Biographers International Organization, seasoned biographers will be present to help guide, mentor and advise attendees on various topics related to the craft of biography writing. 

When: May 13-15, 2022

Where: CUNY Graduate Centre (Tentative),  365 5 th Avenue,  New York, NY

13.  The Writer’s Hotel New York City Writers Conference

The programming has two components: two editor pre-conference team readings and the in-person conference in New York City. The team readings are a comprehensive consultation on each writer’s full-length manuscript, followed by a phone call to discuss strategy on the next steps.

The conference itself features workshops, lectures and one-on-one pitch sessions with literary agents. There is also an industry session for poets. Applications are on a first-come first-serve basis and will close once it’s full.

When: June 8-14, 2022

Where: Various hotels

14.  Yale Writers’ Workshop

A seven-day workshop taught by seasoned instructors with strong publication credits. Featuring craft talks, readings and individual meetings with workshop leaders, workshops are done in small groups of 10-12 people.

Participants with book-length manuscripts will be invited to join in pitch sessions. Open to applicants over 18 years old. Admissions are based solely on the writing sample. See website for more details on application process. There is also a workshop for high school students.

When: June 4-11, 2022

Where: 55 Whitney Avenue, Fourth Floor,  New Haven, CT

When: June 12-18, 2022

15.  Bread Loaf Environmental Writers’ Conference

A week-long conference for anyone interested in writing about the environment and the natural world. Featuring small, focused workshops and specialized classes, participants receive individualized attention from workshop leaders.

Established editors , literary agents and publishers will also be present to give advice on how to place work in magazines and the publishing world.

Where: Bread Loaf Campus of Middlebury College,  75 Franklin Street, Middlebury, VT

16.  SleuthFest

For writers and fans of mystery, suspense and thriller fiction. Featuring workshops, craft talks, panels, forensic classes and a cocktail party. Agents and editors will also be accepting pitches.

When: July 7-10, 2022

17.  Imaginarium Convention

Imaginarium is part film festival, part writing conference, part cosplay — an expo for all creatives, including writers and creators of all genres. Panelists include authors, editors, publishers, filmmakers, screenwriters, game designers, comic creators, artists, actors, and all other creatives. 

When: July 8-10, 2022

Where: Holiday Inn Louisville East,  1325 South Hurstbourne Parkway, Louisville, KY

18.  The Greater Los Angeles Writers Conference

A conference for writers of all genres, including screenwriters and graphic novel writers. Open to writers in all stages of their career, from aspiring first-time writers to already established writers.

Workshops include one-on-one with agents and publishers to prepare writers for pitch meetings, which are also included in the conference.

When: August 5-7, 2022

Where: Hilton Los Angeles Westside,  6161 West Centinela Avenue, Culver City, CA

19.  When Worlds Collide

A festival to connect readers, writers, artists and publishers of commercial and literary fiction of all genres, with public readings, master classes and other workshops on the business of writing.

When: August 12-14, 2022

Where: Delta Hotels by Marriott Calgary South,  135 Southland Drive SE, Calgary, AB

20.  Fernie Writers’ Conference  

A week-long intensive writing workshops, panel discussions and performances in the Rocky Mountains. There will also be opportunities to mix and mingle with editors, literary agents and notable writers who will also be workshop leaders.

When: August 15-21, 2022

Where: Lizard Creek Lodge, Fernie Alpine Resort,  5346 Highline Drive, Fernie, BC

21.  Pacific Northwest In-Person Conference

Featuring writing contests in all genres for a chance to win a free critique. There are master classes and pitching sessions. There are also membership options for conference pricing discount.

When: September 23-25, 2022

22.  GayRomLit Retreat

For writers, readers and publishers of LGBT literature. More details coming soon.

When: October 19-23, 2022

Where: Renaissance Portsmouth Norfolk Waterfront Hotel,  425 Water Street, Portsmouth, VA

23.  Surrey International Writers’ Conference

A professional development event for writers of all genres, featuring master classes, workshops and pitch sessions.

When: October 21-23, 2022; Master classes – October 20, 2022

24.  Indie Romance Convention

A smaller setting that provides attendees a chance to get to know each other. Three days of learning, workshops, panels, and fun events at night.

When: November 2-5, 2022

25.  The Sarah Lawrence College Publish and Promote Your Book Virtual Conference

Featuring interactive panel discussions with prominent New York City literary agents, major publishing house editors and public relations professionals, author talks, Q&A’s and pitch sessions. 

26. WriteOnCon

A favourite for kidlit, middle grade, and YA writers. Perfect if you want to learn everything from how to land an agent, to how to market your book, to how to improve your craft.

When: July 15-17, 2022

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5 Writing Retreats to Apply to in 2022

Looking for a place where you can write more and worry less? A writing retreat might be the perfect vacation for you in 2022. These five writing retreats present an exciting opportunity to explore a new place, meet new people, and focus on writing. Whether you’re working on a collection of poetry, a novel, or a memoir, there’s sure to be a retreat that suits your style. 

Contemporary Writers’ Retreat in Paris, France

If Paris is on your bucket list (next to finishing your next writing project), this retreat is for you. Geared toward women writers, the retreat offers daily writing workshops, themed field trips, meetings with booksellers, and one-on-one coaching. In addition to the writerly offerings, the retreat offers a quintessential Parisian experience with lodging in a striking Art Nouveau house located near local shops, restaurants, and farmer’s markets. The retreat runs June 5–11, 2022, and participants can choose between a private room ($2,799) or a shared room ($2,299). 

High Desert Center Writing Retreat in Paonia, Colorado

Taking a gap year? The High Desert Center Writing Retreat might be your perfect match. Designed for budding writers and modeled after National Novel-Writing Month (NaNoWriMo), the goal of this retreat is to complete the first draft of a novel (so don’t expect to complete editing a final draft during your stay). There are two age groups at the High Desert Center: 13–16 and 17–23. The groups will have dinner together, engage with guest speakers, and network, but feedback sessions and lodging will be separate. The retreat costs $2,200 and runs May 4–June 1, 2022. 

Iceland Writers Retreat in Reykjavíc, Iceland

If small group settings are your jam, this upcoming writing retreat will make you feel right at home. The Iceland Writers Retreat offers intimate writing workshops and cultural tours in Reykjavíc. In addition to cozy workshops and lectures limited to about 15 participants, attendees will be able to enjoy local cafes, visit geothermal hot springs, meet local writers, and learn about the country’s rich literary tradition. The retreat costs approximately $2,000 and runs April 27–May 1, 2022. 

InkWell Composed Residential Writing Retreat in Sautee Nagochee, Georgia

Hitting a wall with your writing? Run by InkWell, this supportive retreat is designed to help you move past self-doubt, writing blocks, and distractions. Attendees will get plenty of personal time to write, reconnect with the pleasures of writing, and receive professional support for a healthy writing practice. Held at the Elohee Retreat Center in Sautee Nagochee, Georgia, the retreat runs May 15–21, 2022 and will set you back about $4,650–$5,250, depending on the accommodations you select. 

Jess Lourey’s Women’s Writing Retreat in Costa Rica

If a luxury writing retreat is what you’re looking for, Less Lourey’s writing retreat in Costa Rica is an excellent choice. This retreat is geared toward women writers who are working on short stories, novellas, novels, memoirs, and more. Each morning is dedicated to developing and refining your work, overcoming writing blocks, and even mapping career goals. In the afternoons, attendees are free to relax, write more, or explore nature, museums, hot springs, or anything else available in the area. The retreat runs February 20–26, 2022, and costs a total of $3,200. 

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Ridge Writing Retreats

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Writing in a Winter Wonderland 2022

In January 2020, we wrote together in a winter wonderland and it was wonderful. At the Writers’ House in Jyväskylä, the snow started falling just as we finished writing . I knew we’d do it again soon…

Two years on, we have come to value our time together in person even more. It is precious, when we have had to do without it for so long. But we’ve still found ways to write , and online, too, the collective energy makes it work .

Writing together keeps your work on track and from it, friendships grow. I hope it can do the same for you. Why not give it a try?

Join us in February if you need to get something written and want good company for it. Come for one day, or five!

Our online retreat on Friday 18 February (in Finnish) is free to Tohtoriverkosto members. The deeper into academia you go, the less easy it is to prioritise your writing, as Hanna Tervanotko and Helen Dixon explain. Join the Finnish network for PhDs and PhD candidates to make it easier. This will be our third retreat.

Before that, we are writing together online on Thursday 3 and 4 February. Like all my other retreats, this will be in English and Finnish – people who come speak and write in other languages too. We will start a bit later to include people further west in Europe.

And on Thursday 10 and Friday 11 February, we will meet in person in a unique setting, Alvar Aalto’s Town Hall in Säynätsalo . Some of you will know I have been living there short-term myself – now you can too, for a day or two. The island is a short bus ride from Jyväskylä city centre, but in the middle of Päijänne, Finland’s second biggest lake. In February the ice should be perfect for skiing, skating, or snowshoeing. Aalto Bakery is right next door, and there’s a lovely lakeside eatery nearby. If walking is more your thing, you can rest and refuel at Table en Bois on the next island. Come on Wednesday night to start right with a sauna. Or stay on for the weekend to relax afterwards. Even if you’re with us for one day, you’ll have room for those conversations that work so much better in person.

Whichever you choose, we will have time, space and community to write together.

Hope you can join us. Book here .

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International Writers' Retreat 2022

January 5-15, 2022 | sicily & rome, with professor liz abrams-morley and mfa program director carla spataro  .

The MFA in Creative Writing program at Rosemont College will offer its annual International Writers' Retreat in January 2022 . This year we will be traveling to Sicily and Rome . MFA in Creative Writing graduate credit, non-credit, and companion prices are available. Airfare is not included .

STUDENTS WHO WANT TO TAKE THE TRIP FOR CREDIT MUST REGISTER FOR CRW 7185 OR CRW 7186 WINTER WRITING SEMINAR ON THE iWAY. This registration form is for non-credit students and companions only!

REGISTER TODAY

Cost to Attend

Graduate Credit Price: $3650 (includes tuition )

Non-Credit Price: $2900

Companion Price: $2550

Advanced Reservation $500 Deposit Due: October 15, 2021

Balance Due: December 3, 2021 (After December 3, program fee is not refundable.)

There are a limited number of single rooms for an additional fee of $400. This is due with your deposit. If you are interested in a single room, please email the MFA program director for availability at [email protected] This trip has a limited number of spots available. Once the trip is full, registration will close. Anyone interested in attending the trip after December 3 should contact the MFA program director for availability. The entire program fee would be due at the time of registration.

Pre-trip Meeting: Friday December 10 at 6 PM Lawrence Hall Faculty Lounge

January 4 Tuesday: Departure from Philadelphia

Transportation: (walking and private coach transportation in Italy)

January 5 Wednesday           

• Arrive Catania (Sicily); Transfer to Siracusa by Taxi
• Welcome dinner

January 6 Thursday  

• Orientation breakfast at EXEDRA Center followed by Ortigia Tour - including market and cathedral
• Afternoon Workshop

January 7 Friday                   

• Visit Neapolis Archaeological Park & Catacombs of San Giovanni

January 8 Saturday   

• Meet for early breakfast at Temple of Apollo
• Private Bus to Agrigento - Valley of the Temples and museum

January 9 Sunday

January 10 Monday   

• Bus to Taormina and the Ancient Greek Theater
• Wine tasting

January 11 Tuesday  

• Castello Maniace and Jewish Baths
• Farewell dinner - home-made pasta “cavateddi” 

January 12 Wednesday         

• Am Fly to Rome (COST NOT INCLUDED)
• PM Visit Rome

January 13 Thursday

• Visit Central Rome  

January 14 Friday                 

• Vatican Museums and St Peters

January 15 Saturday  

• Departure from Rome

Flight Information

Airfare and flight registrations are the responsibility of the attendee. Direct round-trip flights (recommended) are available from most major East Coast airports to Rome. Flights can be cheaper from New York Airports, but you will need to factor in the transportation to and from and or long-term parking. There is an internal round trip flight between Rome and Cantania, Sicily. This means you will need to book two separate round-trip tickets. The final leg of your round-trip from Cantania to Rome must on the morning of January 12.  

Here are some recommended flights from Philadelphia and JFK in New York . Special Note: Booking two separate roundtrip tickets will require you to pick up your luggage in Rome and manually check it through to Catania. Booking your flight before the fall may give you the best price. In these uncertain times Travel Insurance is a MUST!

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Retreats for January 2022

Posted by The Retreat Lady | This Week's Listings

Our New Year starts with some great retreats for January…

Yes, retreats are being listed and life is moving on, in spite of any uncertainty..

We’re pleased to say that we have a good number of retreats listed on our website to start the year. People are moving on with their lives, which includes taking some time out for reflection, renewal and to build relationships.

So if you’re still not sure what to do in the holidays, a retreat might be a great way to get away and have time to yourself, without being caught up in the holiday crowds.

Here are a few great options and more on the Retreat Me Happy website.

Writing About Adolescence

Saturday, 1st – sunday, 2nd january- katoomba, new south wales.

This writing retreat involves a deep level of personal reflection and contemplation, which is stimulated by readings writing exercises, short videos and more. It includes end-of-day mentoring sessions to offer objective insights into your learnings and help you synthesise everything.

Consider embarking on this Write of Passage in order to undertake narrative writing about adolescence, to gain insight into how to write a memoir, begin writing about teenage trauma, and to undertake personal development. Accommodation, meals, workbooks and personal mentoring/debriefing are all included.

Find out more here .

Start the Year Clear Retreat: Goal Setting and Yoga for 2022

Sunday, 9th  january,  bedfordale, western australia.

This 3-hour retreat offers you the time to be with yourself completely. Set in the beautiful Perth Hills, you’ll be without distractions so you can consciously prepare for the 2022 that you want. It’s a morning of meditation, gentle flow yoga, a guided reflection, and goal setting session. You’ll receive a journal and writing tools and will be guided into reflecting on what is most meaningful to you and your life. You’ll then construct an action plan. This time allows you to explore what is really required day in and day out for you to be living in alignment with what is meaningful to you.

“Replenish” Health and Well-being Retreat

Wednesday, 12th  – friday 14th january , angelsea, victoria.

Recentre, Relax and Replenish! This is a great retreat for you to ground and nurture yourself. You’ll learn how to replenish yourself with nourishing foods. You’ll connect with nature, switching off from technology and social media, and you’ll have time for relaxation. You’ll be pampered in their wonderful day spa and you’ll come away feeling ready for the new year, with new knowledge on how to recentre your energy and tap into what “recharges your batteries.”

Soul Food for Professional Caregivers Retreat

Sunday, 15th – 23rd january, orotina, costa rica.

Professional caregivers, do you take your own development to heart?

Reignite the passion for your work and the joy to be alive. This retreat offers energy, inspiration and connection for professional caregivers, such as healers, teachers social workers and facilitators. You’ll have the opportunity to nourish and keep up the high energy levels. As you well know, it’s so important to give yourself a break, set aside your responsibilities and get pampered from time to time.

You’ll have deep-dive mastermind and inspiration sessions, as well as peer intervision to get clear on your next steps and reconnect to your purposes as a caregiver.

“Me Time” Retreats

3-5 day retreats, 365 days a year  – upper hutt, wellington, new zealand.

“Me time” retreats are perfect for when you need a break, a re-set and some time to reflect. Whether you have some goal setting to work on, some stuff to release that no longer serves you – or you are working on discovering and defining a whole new you: you’ll find the right guidance for you.

The retreats are modular, so you start with booking the dates and accommodation that would like. You then choose the retreat modules that interest you. You’ll also have plenty of time for personal reflection and to enjoy the surrounding area, go for a swim, do yoga on the deck or detox in the steam sauna.

Career Retreat

Saturday, 22nd – sunday, 23rd january – katoomba, new south wales.

This career retreat program provides you with an opportunity to reprogram your view of work and the possibilities life offers you. It can help you determine your ideal career and obtain practical help to plan and design your career path. You’ll work one on one with a career counsellor to obtain a fresh perspective.

The program includes accommodation, meals, workbooks and personal mentoring/debriefing.

We have more January retreats listed on our website and you’ll find many more for February and March – Retreat Me Happy .

Wishing you a great start to 2022!

Author: The Retreat Lady

Sarah Willmott, founder of Retreat Me Happy is passionate about making Retreats accessible to everyone. She specialises in helping Retreats reach a wider audience by creating this online platform. By day Sarah sends care packages to help people feel better (she owns Feel Better Box) and by night she builds this website to help you find your perfect retreat.

Want to Retreat Me Happy?

Would you like to be the first to know when we have early-bird or last-minute retreat specials? Just drop your email below and you'll be the first to know.

Get your travel luggage out of storage and let's find you a retreat you're going to love.

About the author.

The Retreat Lady

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The Winter Retreat

The only southern writing retreat for poets of color.

Poets accepted into our annual Winter Retreat will become members of The Watering Hole Poetry Fellowship—our deep roster of brilliant poets of color who create in real time.

THE 2022 WINTER RETREAT

The Watering Hole hosts the only Southern writing retreat for poets of color and draws 50 to 60 poets to the retreat each year. The Watering Hole hosts the only Southern writing.

The Watering Hole hosts the only Southern writing retreat for poets of color and draws 50 to 60 poets to the retreat each year.The Watering Hole hosts the only Southern writing retreat for poets.

RETREAT FACULTY

THE 2022 WATERING HOLE POETRY FELLOWSHIP


The Watering Hole hosts the only Southern writing retreat for poets of color and draws 50 to 60 poets to the retreat each year.

Basic Details

Submission Period: May 15 – July 1

Applicants Notified: in August

Retreat Dates: Dec. 26 – 30 every year

Branches: Workshop Fellowship or Manuscript Coaching Fellowship

Focus: Reading great poets, generating new work, and building tribe with each other

Location: Hickory Knob State Park in 1591 Resort Dr. / McCormick, S.C. 29835 / (864) 391-2450

Attendance: Fellows must be arrive no later than the afternoon of Dec. 26th and remain in attendance until Dec. 30th.

Accepted applicants may attend up to 3 retreats over the course of 5 years. Upon attending the 1st retreat, applicants become TWH Fellows. TWH Fellows reapply as normal for future years and receive priority during selection. Upon completing the 3rd retreat, Fellows become Graduate Fellows.

Public Events:

Dec. 27th, 5:00 – 6:30 p.m. Faculty Reading (Hickory Knob Convention Center)

Dec. 29th, 5:00 – 6:30 p.m. Keynote and Graduate Reading (Hickory Knob Convention Center)

Dec. 29th, 6:30 – 8:00 p.m. Fish Fry

Manuscript Coach

Tara Betts lives in Chicago and is the author of the manuscript “Refuse to Disappear,” as well as Break the Habit (Trio House Press, 2016) and Arc & Hue(Willow Books, 2009). She is a graduate of the New England College MFA Program. She represented Chicago twice at the National Poetry Slam, coached youth who went on to Brave New Voices, and appeared on HBO’s Def Poetry Jam. Her writing has also been dramatized for the stage.

Performance Facilitator

Andrea “Vocab” Sanderson

Andrea “Vocab” Sanderson is a poet, singer, and hip hop artist. A San Antonio native, she is the author of the collection She Lives In Music (Flower Song Press, 2020). She has traveled internationally to perform and teach and currently serves as a Teaching Artist for Gemini Ink since 2009. Sanderson is the Poet Laureate of San Antonio, Texas and in 2021 received an Academy of American Poets Laureate Fellowship.

Writing Facilitators

Joshua Bennet

Dr. Joshua Bennett is a Professor of English and Creative Writing at Dartmouth College. He is the author of three books of poetry and literary criticism: The Sobbing School—which was a National Poetry Series selection and a finalist for an NAACP Image Award—Being Property Once Myself, and Owed. His first work of narrative nonfiction, Spoken Word: A Cultural History, is forthcoming from Knopf.

Paul Tran is a Visiting Faculty in Poetry at Pacific University MFA in Writing, a Wallace Stegner Fellow in Poetry at Stanford University, a recipient of the Ruth Lilly & Dorothy Sargent Rosenberg Fellowship from the Poetry Foundation, and current Poetry Editor at The Offing Magazine, which won a Whiting Literary Magazine Prize from the Whiting Foundation. Their work appears in The New Yorker, The Nation, Best American Poetry, and elsewhere.

General Events

All fellows may attend a Performance Workshop, 3 Craft Talks, the Faculty reading, the Graduation Ceremony, the Fish Fry, other unofficial gatherings and classes led by other fellows.

Writing Workshop Fellowship

Workshop Fellows gather in small groups of 10 to 14 and take 3 hours of workshop on Dec. 27th, 28th, and 29th. They rotate among three facilitators. The purpose of the workshops is to learn craft and generate new work. These workshops include lectures, analysis, discussions, writing prompts, reading assignments, etc. These fellows have the opportunity to read the new work they generated at the retreat during the fish fry on the 29th.

Manuscript Coaching Fellowship

The purpose of this fellowship is to give up to six unpublished poets guidance with their manuscript in progress. In the fall, thee cohort members read and critique the manuscripts of their peers, using guidelines provided by the Ms. Coach. At the retreat, the they meet in their small groups, discuss manuscript building strategies, discuss individual manuscripts, receive feedback from their peers and coach, and work on the structure of their manuscript. They have the opportunity to read during the fish fry on the 29th.

• 2021 Winter Retreat –Tara Betts (Manuscript Coach), Andrea “Vocab” Sanderson (Performance), Joshua Bennett, Paul Tran (Writing Facilitators)
• 2020 Winter Retreat –Tyehimba Jess (Manuscript Coach), Ebony Stewart (Performance), John Murillo, Justin Phillip Reed, Denice Frohman (Writing Facilitators)
• 2019 Winter Retreat –Jericho Brown (Manuscript Coach), Monet Marshall (Performance), Dustin Pearson, Franny Choi, Tim Seibles (Writing Facilitators)
• 2018 Winter Retreat –francine j harris, Chen Chen, Phillip B. Williams, Kimbi the Goddess (Performance), and Remica Bingham Risher (Manuscript Coach/Keynote)
• 2017 Winter Retreat —Terrance Hayes, Delana R.A. Dameron, Danez Smith, Abiodun Oyewole (Performance), and Patricia Smith (Keynote), with honored 5th anniversary guests Dr. Joanne Gabbin, Jericho Brown, Keisha-Gaye Anderson, Dasan Ahanu, and L. Lamar Wilson
• 2016 Winter Retreat — Evie Shockley, L. Lamar Wilson, Bettina Judd, Dasan Ahanu (Performance), and Sharan Strange (Keynote),
• 2015 Winter Retreat — Jericho Brown, Tara Betts, Randall Horton, Ebony Noelle Golden (Performance), and Marlanda Dekine (Arts Activism),
• 2014 Winter Retreat — Frank X. Walker, Roger Bonair-Agard, Mariahadessa Ekere Tallie, Darion McCloud (Performance), and Nikky Finney (Keynote)
• 2013 Winter Retreat — Tyehimba Jess, Lita Hooper, and Remica L. Bingham Risher

YOUR FELLOWSHIP

Have questions about your fellowship at the retreat, housing, facilities, fees, session calendar, payments, or what to expect when you arrive?

• Traditional $499– Fellows with the Traditional Package are housed in a cabin with either retreat fellows or manuscript coaching fellows and may host one workshop for the retreat. Cabins consist of one bedroom with two double beds, one living room with a couch or futon, and one kitchen stocked with basic utensils. Fellows with a Traditional Package are housed 3 or 4 people to a cabin, which means that these fellows must be willing to share beds or sleep on the couch. Roommate preference forms are linked on the confirmation page immediately after payment. While we do our best to accommodate them, roommate preferences are not guaranteed. (Cabins are based upon availability and are therefore not guaranteed.)
• Double $699– Fellows with the Double Package are housed in a lodge room with either a retreat fellow or a manuscript coaching fellow. Lodge rooms are similar to hotel rooms. They consist of one living space with two double beds. Fellows with a Double Package are housed 2 people to a lodge room. Roommate preference forms are linked on the confirmation page immediately after payment. While we do our best to accommodate them, roommate preferences are not guaranteed.
• Single $899– Fellows with the Single Package are housed in a private lodge room. Lodge rooms are similar to hotel rooms. They consist of one living space with two double beds. Fellows with a Single Package are housed 1 person to a lodge room. The registration form is linked on the confirmation page immediately after payment.

It will really help Candace and Monifa if any of you are able to take some of these tasks off of our plate. This is a new program, so we’re working the kinks out of it. We’ll need about 6 people to share this work. Each person would work between 9 and 13 hours over this period.

After acceptance, you’ll receive a registration link. You’ll be able to apply for the Work Exchange Program in that registration form. PLEASE, READ THE BELOW INFO. BEFORE APPLYING FOR A POSITION.

RETREAT DISCOUNT

We give each Work Exchange person a $150 discount as a sincere thank you. The discount comes as a reimbursement check after all duties are complete by January 30th.

We’ll need you on hand on the morning of December 26th to the afternoon of December 30th. The first and last days are clutch, meaning longer hours. The other days might amount to 2 hours of work per day broken up at different times of the day.

• DRIVERS–At least two people will drive fellows in shuttles, drive facilitators in, help me and Mo unpack the van (about 4-6 hours of work). On duty at 8:00 a.m.
• RUNNERS–At least two people will pack and deliver gift boxes, run last minute errands to the grocery store, set up the conference room, carry boxes (up to 25 lbs), basically set up for the retreat (about 3-4 hours of work). On duty at 11:00 a.m.
• FOOD PREP–At least two people will help the facilitator’s chef unpack and organize his equipment and goods. They’ll wash and chop veggies, design serving containers, deliver food, and clean the kitchen (about 2-3 hours of work). On duty at 1:00 p.m.
• DRIVERS–At least one person will need to take fellows to the grocery store on the 27th (about 1 hour total).
• RUNNERS–At least one person will set up the conference room, deliver folding chairs to cabins, and be available for errands (about 1-2 hours of work each day).
• FOOD PREP–At least one person will assist the chef at breakfast, lunch, and dinner. They’ll wash and chop veggies, design serving containers, deliver food, and clean the kitchen (about 2-4 hours of work depending on the day).
• DRIVERS–At least two people will drive fellows and facilitators in shuttles and help Candace and Monifa pack the shuttle van (about 4-6 hours of work). Off duty by 3:00 p.m.
• RUNNERS–At least two people will double check each room and cabin, pack up the host cabin, help Candace and Monifa pack the van (about 3-4 hours of work). Off duty by 3:00 p.m.
• FOOD PREP–At least two people will help the chef pack his equipment and goods (about 1-2 hours of work). Off duty by noon.

ELIGIBILITY

• A valid driver’s license
• A clean driving history
• Willingness to shuttle fellows in the TWH rental van
• Active vehicle insurance (including standard liability)
• Your own vehicle (for off campus errands that you run)
• Ability to carry 25 lbs. 40 ft.

FOOD PREP. ELIGIBILITY

• Cleanliness and safety awareness

Getting Here

Check-In: Dec. 26th, 3:00 – 5:00 p.m. First Event: Dec. 26th at 5:00 p.m. Check-Out: Dec. 30th by 10:00 a.m.

Nearest Airport: Augusta Regional Airport (about 75 minutes away)

* The last one will leave the airport around 3:00 p.m. on Dec. 26th. We will request early check-in for shuttle people. * The first one will arrive at the airport around 8:00 a.m. on Dec. 30th. * If these shuttle times don’t work for you, reach out to the Tribe in the Facebook Group (for a ride share) or e-mail us for other options.

PREVIOUS FACULTY

Franny Choi

DaMaris B. Hill Boris “Bluz” Rogers Julian Randall

Performance

Andrea “Vocab” Sanderson

Joshua Bennett Paul Tran

Tyehimba Jess

Ebony Stewart

John Murillo Justin Phillip Reed Denice Frohman

Jericho Brown

Monet Marshall

Dustin Pearson Franny Choi Tim Seibles

Manuscript Coach & Keynote Speaker

Remica Bingham Risher

Kimbi the Goddess

Francine J Harris Chen Chen Phillip B. Williams

Keynote Speaker

Patricia Smith

Abiodun Oyewole

Terrance Hayes Delana R.A. Dameron Danez Smith

Honored 5th Anniversary Guests

Dr. Joanne Gabbin Jericho Brown Keisha-Gaye Anderson Dasan Ahanu L. Lamar Wilson

Sharan Strange

Dasan Ahanu

Evie Shockley L. Lamar Wilson Bettina Judd

Arts Activism

Marlanda Dekine

Ebony Noelle Golden

Jericho Brown Tara Betts Randall Horton

Nikky Finney

Darion McCloud

Frank X. Walker Roger Bonair-Agard Mariahadessa Ekere Tallie

Tyehimba Jess Lita Hooper Remica L. Bingham Risher

Welcome to My Life

Review: retreat from moscow.

David Stahel’s Retreat from Moscow provides a comprehensive, effective argument for looking anew at the battles of the 1941-1942 German winter campaign. Highly recommended for history and WWII buffs.

From the Publisher

A gripping and authoritative revisionist account of the German Winter Campaign of 1941–1942 Germany’s winter campaign of 1941–1942 is commonly seen as its first defeat. In Retreat from Moscow , a bold, gripping account of one of the seminal moments of World War II, David Stahel argues that instead it was its first strategic success in the East. The Soviet counteroffensive was in fact a Pyrrhic victory. Despite being pushed back from Moscow, the Wehrmacht lost far fewer men, frustrated its enemy’s strategy, and emerged in the spring unbroken and poised to recapture the initiative. Hitler’s strategic plan called for holding important Russian industrial cities, and the German army succeeded. The Soviets as of January 1942 aimed for nothing less than the destruction of Army Group Center, yet not a single German unit was ever destroyed. Lacking the professionalism, training, and experience of the Wehrmacht, the Red Army’s offensive attempting to break German lines in countless head-on assaults led to far more tactical defeats than victories. Using accounts from journals, memoirs, and wartime correspondence, Stahel takes us directly into the Wolf’s Lair to reveal a German command at war with itself as generals on the ground fought to maintain order and save their troops in the face of Hitler’s capricious, increasingly irrational directives. Excerpts from soldiers’ diaries and letters home paint a rich portrait of life and death on the front, where the men of the Ostheer battled frostbite nearly as deadly as Soviet artillery. With this latest installment of his pathbreaking series on the Eastern Front, David Stahel completes a military history of the highest order

It’s commonly accepted that the winter of 1941-1942 was Germany’s first defeat. But in his previous work, David Stahel argued that the first defeat and the turning of the war occurred in the summer of 1941. In Retreat from Moscow , he argues that Germany wasn’t as defeated as the current narrative would suggest. The Red Army paid a heavy price with the front line stabilizing deep in Soviet territory from February to March of 1942. The book is meticulously built around proving this argument through exquisitely researched details. The notes and bibliography at the end of the book are detailed, numerous, and comprehensive. The bibliography is broken out into archival, websites, primary and secondary sources. All this research punctuates the text with more than just statistics; the maps helped me locate the detailed movements. Usually, I’m not a big map fan, but they worked for me in this book for some reason.

Retreat from Moscow starts in early December 1941 with the beginning of the Soviet counteroffensive to the halt Hitler ordered in mid December to the supply crisis of Christmas 1941 to the end of January 1942. Twenty-one chapters of detailed description and analysis that supports his conclusion. The Germans weathered the Soviet offensive by causing massive casualties among the Red Army. Stahel dictates the ups and downs of this campaign with accessible writing that held my attention. The writing is lively and tells a story rather than a dry recitation of the facts. This is excellent historical writing.

Retreat from Moscow is a deep book. Stahel moves from the unit level movements to the greater strategic decisions being made. The information is dense while remaining readable. Stahel has done extensive research. Of all the nonfiction books I’ve read this year, Stahel has collected the largest endnotes and bibliography. I cannot imagine the amount of work that went into just preparing for this book. His notes must be a few books unto themselves. I wonder if war gamers could use the book to reenact the winter campaign because the descriptions are so in-depth.

As much as I enjoyed this book, I didn’t know enough to get everything out of it that a military history buff could. It might have been too much for me at this point in my studies of World War II. The troop level movements were interesting, but I preferred the strategy and tactics a level up from there. I think for the casual history reader, this might be too information. However, the casual history reader can still enjoy Stahel’s work.

Did Stahel Argue Effectively?

In the introduction, Stahel states his thesis well and clearly. He uses the rest of the book as supporting arguments. So, was he successful? That’s a question for someone more knowledgeable about this material than I am. Success here would be defined as changing the current view of the winter campaign. It would also be defined among the scholars of WWII military history. Has he changed the course of the dialogue around the winter campaign? I don’t know. However, he argued effectively enough that I now view the winter campaign in a different light. Though Germany retreated, the high cost to the Red Army and the front line remaining deep in Soviet territory cannot be called a victory for the Soviet Union.

David Stahel’s Retreat from Moscow spares no detail in analyzing the German and Soviet troop movements. This in-depth account of the 1941-1942 winter campaign is a must have for military history fans. Retreat from Moscow caters to the hardcore scholars but is accessible to even the average history buff like me. Stahel have given us an excellent historical analysis. Recommended.

Retreat from Moscow is available November 19 th from Farrar, Straus, & Giroux .

7.5 out of 10!

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The Campaign of 1812 and Retreat from Moscow by Belloc ( 42 results)

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The Campaign of 1812 and the Retreat from Moscow

Hilaire Belloc

Published by Thomas Nelson, 1931

Seller: Winghale Books , South Kelsey, LINCS, United Kingdom

Seller Rating:

Contact seller

Used - Hardcover Condition: Good

Within United Kingdom

Quantity: 1

Hardcover. Condition: Good. No Jacket. 270 pages. Signature on slightly browning end paper. Slight fading and minor general wear to very sound cover. Slightly small size hardback. No dust jacket.

The Campaign of 1812 and The Retreat from Moscow

Published by Thomas Nelson and Sons, 1111

Seller: World of Rare Books , Goring-by-Sea, SXW, United Kingdom

Used - Hardcover Condition: Fair

Condition: Fair. No Edition Remarks. 270 pages. No dust jacket. Blue cloth with gilt lettering. Binding remains firm. Pages are moderately tanned. Boards have heavy edge-wear with substantial bumping to corners, crushing to spine ends and rub wear all over.

The Campaign of 1812 and the Retreat From Moscow (2nd Impression)

Published by Thomas Nelson and Son, 1925

Seller: Anybook.com , Lincoln, United Kingdom

Used - Hardcover Condition: Poor

Condition: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Book contains pencil markings. In poor condition, suitable as a reading copy. No dust jacket. Heavy foxing, including on page edges. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:

Published by Thomas Nelson & Sons Ltd, Edinburgh & London, 1924

Seller: Provan Books , Glasgow, United Kingdom

Used - Hardcover Condition: Very Good

Hardcover. Condition: Very Good. 8 preliminary pages, 270 pages, 3 folding maps, diagrams in text, very good condition in cloth binding, top and bottom of spine bumped and slightly rubbed, top edge dust marked, fore-edge of book slightly spotted.

The Campaign of 1812 and the Retreat from Moscow (Classic Reprint)

Published by Forgotten Books, 2018

ISBN 10: 1333925190 ISBN 13: 9781333925192

Seller: PBShop.store UK , Fairford, GLOS, United Kingdom

New - Softcover Condition: New

Quantity: 15

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

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New offers from � 12.68

CAMPAIGN OF 1812 and the Retreat from Moscow

BELLOC HILAIRE:

Published by NELSON

Seller: Book Cupboard , PLYMOUTH, DEVON, United Kingdom

N/D RPT X/LIB O/W G-VG 10,00.

The The Campaign of 1812, and the Retreat From Moscow

Published by LEGARE STREET PR, 2023

ISBN 10: 1021404950 ISBN 13: 9781021404954

Book Print on Demand

Quantity: > 20

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

New offers from � 20.62

Published by Nelson, London, 1923

Seller: SAVERY BOOKS , Brighton, East Sussex, United Kingdom

Hardcover. Condition: Very Good. NO JACKET. Hardback 1923. With maps. Clean & tight. No inscriptions. NO JACKET. Dispatched ROYAL MAIL FIRST CLASS with TRACKING next working day or sooner securely boxed in cardboard. ref b19. The Campaign of 1812 and the Retreat from Moscow by Hilaire Belloc. Published by Nelson, London.

The Campaign Of 1812 & The Retreat From Moscow

Belloc, Hilaire

Published by Nelson

Seller: Chapter 1 , Johannesburg, GAU, South Africa

From South Africa to United Kingdom

Hardcover. Condition: Good. No Jacket. The boards are worn and marked.Previous ownership inscription dated 1925.Tanning.Small closed tear on last page.Well bound.Good copy.[R.K]. Our orders are shipped using tracked courier delivery services.

The Campaign of 1812 and the Retreat From Moscow Classic Reprint

ISBN 10: 0331644495 ISBN 13: 9780331644494

New - Hardcover Condition: New

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

New offers from � 27.34

Published by Legare Street Press, 2023

ISBN 10: 1019576308 ISBN 13: 9781019576304

HRD. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

New offers from � 28.85

Napoleon's Campaign of 1812 and the Retreat From Moscow

Belloc, Hilaire 1870-1953

Published by Hassell Street Press, 2021

ISBN 10: 1013459679 ISBN 13: 9781013459672

Seller: GreatBookPricesUK , Castle Donington, DERBY, United Kingdom

Used - Softcover Condition: As New

Quantity: 5

Condition: As New. Unread book in perfect condition.

New offers from � 30.60

Used offers from � 29.68

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The Campaign of 1812, and the Retreat from Moscow [LeatherBound]

Publication Date: 2023

Seller: True World of Books , Delhi, India

From India to United Kingdom

Quantity: 18

LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1924 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 292 Language: English.

The campaign of 1812 and the retreat from Moscow, by Hilaire Belloc. (1924) [LeatherBound]

Publication Date: 2022

Seller: S N Books World , Delhi, India

LeatherBound. Condition: New. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1924 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 302 Language: English Pages: 302.

Napoleon's campaign of 1812 and the retreat from Moscow (1926) [LeatherBound]

LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1926 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 312.

Napoleon's campaign of 1812 and the retreat from Moscow, by Hilaire Belloc. (1926) [Leatherbound]

LeatherBound. Condition: New. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1926 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 318 Language: English Pages: 318.

The Campaign of 1812, and the Retreat From Moscow

Published by CHIZINE PUBN, 2018

ISBN 10: 1376662949 ISBN 13: 9781376662948

Seller: moluna , Greven, Germany

From Germany to United Kingdom

Condition: New.

Belloc.Hilaire

Published by Thomas Nelson & Sons, London

Seller: A Small Bookshop , ELMHURST, VIC, Australia

From Australia to United Kingdom

Hardcover. Condition: Very Good. No Jacket. Illustrated:Maps[4 foldout] & Line Drawings.Frontispiece:black & white photograph.Black cover with Red Titles.Minor scuffing to cnrs & Head & tail of spine.Some light foxing.No Date of Publication.

Published by Thomas Nelson and Sons, Ltd ca. 1923, London, 1923

Seller: Haaswurth Books , Binghamton, NY, U.S.A.

Association Member: IOBA

Used - Hardcover Condition: Very good

From U.S.A. to United Kingdom

Hardcover. Condition: Very good. Black cloth with red titles, no dj, 8 x 5 1/2 inches; viii., 270 pp., tight. Illustrated and with several folding maps. No date of publication. First written in 1912, the centenary year of the retreat from Moscow. Belloc says that it was largely written when he was on the sites the book describes. It was first in print as a serial in the Pall Mall Gazette.

Napoleon\ s Campaign of 1812 and the Retreat From Moscow

Published by LIGHTNING SOURCE INC, 2021

ISBN 10: 1013374274 ISBN 13: 9781013374272

New offers from � 37.76

Napoleon's Campaign of 1812 and the Retreat from Moscow

Published by Harper & Bros, NY, 1926

Seller: General Eclectic Books , Gray, ME, U.S.A.

Cloth. Condition: Good. No Jacket. Maps (illustrator). First American Ed. Some soil & stains, ave. wear, spine discolored. Innards are clean & tight w/ stain on foredge. 284 pp. + ads.

Published by SWING, 2015

ISBN 10: 1296949001 ISBN 13: 9781296949006

Gebunden. Condition: New. KlappentextThis work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original w.

New offers from � 35.77

Campaign of 1812 and the Retreat from Moscow

Published by Thomas Nelson And Sons, 1912

Seller: Peace of Mind Bookstore , Tulsa, OK, U.S.A.

Cloth. Condition: Good. This is a hard cover book with black cloth covered boards. Red titling and illustration on cover and spine. Illustrated frontispiece. Includes several b/w maps, some of which are fold outs. Front cover is creased/bent, but otherwise in amazing condition considering advanced age. Professional book dealer since 1975. All orders are processed promptly and packaged with the utmost care. Satisfaction guaranteed.

The campaign of 1812 and the retreat from Moscow / by Hilaire Belloc

Published by London, New York : T. Nelson and Sons, 1924

Seller: MW Books Ltd. , Galway, Ireland

First Edition

Used - Hardcover

From Ireland to United Kingdom

First Edition. Provenance: Bookplate of Francis Alvey Rhodes Darwin, M.A. Near fine copy in the original title-blocked cloth. Slightest suggestion of rubbing and dust-dulling to the spine bands and panel edges. Scattered foxing internally. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description; viii, 270 pages 1 leaf frontispiece, illustrations (plans) maps (4 folded) 20 cm Subjects; Napoleon I, Emperor of the French 1769-1821 Invasion of Russia, 1812. 1800-1815. Napoleonic Wars, 1800-1815 Campaigns Russia. Military campaigns. Napoleonic Wars, 1800-1815 Campaigns Soviet Union. Invasion Russia Napoleonic Wars France Russian History. 1 Kg.

The Campaign of 1812 and the retreat from Moscow.

Belloc, Hilaire.

Published by London, Thomas Nelson., 1923

Seller: Inanna Rare Books Ltd. , Skibbereen, CORK, Ireland

13 cm x 20 cm. 269 pages. Original Hardcover. Comes complete with four folding maps. Very good condition with only very minor signs of external wear suchn as discolouration on inside pages and slight wear and discolouration on the spine. Joseph Hilaire Pierre Ren� Belloc (27 July 1870 16 July 1953) was an Anglo-French writer and historian. He was one of the most prolific writers in England during the early twentieth century. He was known as a writer, orator, poet, sailor, satirist, man of letters, soldier and political activist. His Catholic faith had a strong impact on his works. He was President of the Oxford Union and later MP for Salford from 1906 to 1910. He was a noted disputant, with a number of long-running feuds, but also widely regarded as a humane and sympathetic man. Belloc became a naturalised British subject in 1902, while retaining his French citizenship. (Wikipedia) Sprache: english.

Seller: MW Books , New York, NY, U.S.A.

Published by Harper & Bros, New York, 1926

Seller: Sleepy Hollow Books , Huntington, VT, U.S.A.

Hardcover. Blue cloth, gold l.ettering, no dj, edges rubbed, ex-lib. France; 31172.

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Scriabin Association

Founded to celebrate scriabin, scriabinism and scriabinists…, the texts of scriabin’s works: some observations of a performer-researcher-teacher. by simon nicholls.

The handwriting of any individual is a kind of self-portrait, and reading a handwritten letter can give an indication of the writer’s character and state of mind, and of his or her attitude to the content of the letter. An author’s manuscript often yields valuable information about the creative process; the manuscripts of Dickens or Dostoevsky provide many examples. Examining such a document is a very different experience from reading a novel in cold print. With a musical manuscript, the spacing, the character of the pen-strokes and of the musical handwriting, as well as details of layout which cannot always be exactly reproduced by the process of engraving, give similar information, valuable to the student and to the performer. Beyond factual information, the visual impression of the manuscript, the Notenbild , can be a direct stimulus from the composer to the interpreter’s imagination. In this way, study of the composer’s manuscript can lead both to a narrowing of the possibility of textual error and to a widening of the possibilities of imaginative response to interpretation.

Examining the manuscripts of any great composer or literary author is always a thrilling experience. I have spent many hours studying Scriabin’s manuscripts in the Glinka Museum, Moscow, which holds in its vast archive many fair and rough copies of complete works as well as sketches by Scriabin. The first thing which strikes one is the extreme beauty and clarity of the scores. The slender exactitude of the writing and drawing corresponds to the delicacy and transparency of Scriabin’s own playing of his music, and makes it clear to the interpreter that a similar clarity, precision and grace is demanded in his or her own performance – something extremely difficult to achieve. The care with which the manuscripts were prepared confirms the testimony of Scriabin’s friend and biographer, Leonid Sabaneyev, who was bemused by the care taken by the composer in the placing of slurs, the choice of sharps or flats in accidentals (contributing in many cases to an analysis of the harmony concerned), the spacing of the lines of the musical texture over the staves and the upward or downward direction of note stems.

It was Heinrich Schenker who pointed out the expressive and structural significance  of the manuscript notation of Beethoven, and who was instrumental in establishing an archive in the Austrian National Library, Vienna, of photographic reproductions of musical manuscripts. His pioneering work has led gradually to the present wealth of Urtext editions and facsimiles of many composers’ manuscripts. Reproductions of Skryabin’s manuscripts have been published by Muzyka (Moscow), Henle (Munich) and the Juilliard School (New York; their manuscript collection is available online). [1]  These reproductions cover several significant compositions by Scriabin: Sonata no. 5, op. 53; Two pieces, op. 59; Poème-nocturne, op. 61; Sonata no. 6, op. 62; Two poèmes, op. 63; Sonata no. 7, op. 64. The remarks below have no pretensions to system or completeness; they are merely observations based on initial study, and intended as a stimulus to others to examine the manuscripts for themselves.

In maturity, Scriabin took immense care with his manuscripts. Speaking to Sabaneyev, he compared the difficulty of writing down a conception in sound to the process of rendering a three-dimensional object on a flat surface. As a student and as a young composer, though, Scriabin was by no means ideally accurate or painstaking in his notation. This was the cause of Rimsky-Korsakov’s irritated response to the manuscript score of Scriabin’s Piano Concerto – the elder composer initially considered it to be too full of mistakes to be worthy of serious attention. Mitrofan Belaieff, Scriabin’s publisher, patron and mentor, frequently begged the composer to be more careful in correcting proofs. The original editions, particularly of the early works, contain many errors which originate in some cases from Scriabin’s manuscript and in others from poor proofreading – as far as we can tell; some early manuscripts are now lost.

We are indebted to the fine musician Nikolai Zhilyayev for correct editions of Scriabin’s music. Zhilyayev knew Scriabin well and discussed many misprints with the composer; others he detected by his own scrupulous and scholarly work and prodigious memory. As Scriabin’s harmony and voice-leading were impeccably systematic and logical at all stages of his development, those who have had to do with the old editions will know that is often possible to correct mistakes by analogy or knowledge of harmonic style.

 Zhilyayev was the revising editor for a new edition of Scriabin’s music, published by the Soviet organisation Gosudarstvennoe izdatel’stvo muzykal’nyi sektor (State publisher, musical division – ‘Muzsektor’) from the 1920s on, each work or opus number being issued separately. These beautifully prepared editions are painstakingly annotated, corrections being indicated in two layers: those discussed with the composer and therefore beyond doubt, and those which Zhilyayev considered likely (and he was usually right). This work was the basis of the complete edition of the piano music published by Gosudarstvennoe muszykal’noe izdatel’stvo (State musical publishing house – ‘Muzgiz’) in three volumes (1947, 1948 and 1953). [2] Zhilyayev fell victim to Stalin’s terror; he was arrested in 1937 and shot in the following year. His name does not appear on this three-volume edition.

A new complete edition is appearing gradually under the imprint Muzyka–P. Jurgenson. The general editor is Valentina Rubtsova, biographer of Scriabin and head of research at the Scriabin Museum, Moscow, assisted by Pavel Shatsky. As in Rubtsova’s editions for Henle, full credit is given to Zhilyayev, and the annotations as to origins and variants are very thorough in this valuable new edition.

A  very  limited  number  of  Scriabin’s  manuscripts has been  available  in  facsimile until now. The collection of ‘Youthful and Early Works’ prepared by Donald Garvelmann and published in New York in 1970 by Music Treasure Publications [3] contains a facsimile of the early E flat minor sonata (without opus number) of 1889, a typical youthful manuscript of the composer, rather heavy in its style of penmanship. The manuscript of the op. 11 preludes (excerpts are shown in ill.1), though tidier, shows a similar style.

ill. 1) Extract of  Op. 11 Preludes manuscript

The Russian website ‘Virtual’nye vystavki’ (‘Virtual exhibitions’) [4] gives in facsimile the first page of the Etude op. 8 no. 12, with more fingering than is shown in the Belaieff edition, and also the first page of the manuscript score of the Poem of Ecstasy , providing a striking example of the change in the composer’s manuscript style. A facsimile on the site of the first two pages of the score of the Piano Concerto shows some of the copious blue-pencilling of Rimsky-Korsakov from the occasion mentioned earlier, and the site also reproduces Skryabin’s letter of apology to Rimsky-Korsakov apologising for the errors and blaming neuralgia. [5] Comparison of this letter with the one to the musicologist N. F. Findeizen dated 26 December 1907, also viewable on the site, gives another clear example of the change in Scriabin’s handwriting. [6]

Op. 53: Sonata no. 5

A facsimile of the Fifth Sonata has been published by Muzyka. [7] The manuscript of this work was presented to the Skryabin Museum, Moscow, by the widow of the pianist and composer Alfred Laliberté, to whom Scriabin had given the manuscript. This is a very different document from the early E flat minor sonata manuscript, and shows Scriabin’s fastidious and calligraphically exquisite mature hand. By this time both Scriabin’s music manuscript and his handwriting had developed an elongated ‘upward-striving’ manner. We might make a comparison with the remark of Boris Pasternak that the composer ‘had trained himself various kinds of sublime lightness and unburdened movement resembling flight’ [8] – the handwriting is expressive of this quality. Examples of Scriabin’s handwriting in letters to Belaieff in 1897 (ill. 2) and to the composer and conductor Felix Blumenfeld in 1906 (ill. 3) show the dramatic difference in handwriting style that developed.

ill. 2) Scriabin’s handwriting 1897

ill. 3) Scriabin’s handwriting 1906

The manuscript of the Fifth Sonata shows that, although Scriabin spoke French, he did not immediately provide a French text for the epigraph, which is from the verse Poem of Ecstasy . This poem was written in Russian at the same period that the symphonic poem was composed. There is a request on the manuscript to the engraver to leave space for a French version. The French text, which is the usual source of English translations, does not reflect the Russian with complete accuracy: the forces mystérieuses , ‘mysterious forces’, which are being called into life are skrytye stremlen’ya , ‘hidden strivings’, in the original. [9] In other words, it is open to doubt that any sort of ‘magical ritual’, in a superstitious sense, is being depicted in this work, a suggestion made (perhaps in a figurative sense) by the early writer on Scriabin Evgenii Gunst and elaborated upon by the composer’s British-American biographer, Alfred Swan. The epigraph may be regarded as an invocation of Scriabin’s own inner aspirations, the creative power which the composer equated with the divine principle.

Work on the Fifth Sonata started in 1907, at a period when a rift had developed between Scriabin and the publishing house of Belaieff. The committee running the publishers after the death of Belaieff had proposed a renegotiation of fees. It is possible that Scriabin was unaware of the preferential and generous treatment Belaieff had accorded him; certainly, he was offended by the proposals and withdrew from his agreement with the publishers. The Sonata was published at Scriabin’s own expense, but was taken into the publishing concern run by the conductor Serge Koussevitsky, Rossiiskoe muzykal’noe izdatel’stvo (RMI). Later still, Scriabin quarrelled with Koussevitsky too, and the composer’s last works were published by the firm which had brought out his very first published compositions, Jurgenson.

The main differences between the manuscript of the Fifth Sonata and most modern printed texts are:

1) a missing set of ties at the barline between  bars 98 and 99. These ties are also missing in RMI, and in the edition printed at Scriabin’s own expense. [10] Muzgiz adds the ties in dotted lines, by analogy with the parallel passage at bars 359–360. The commentary to the Muzgiz edition states that sketches of the work make use of an abbreviated notation at this point which could have led to this misunderstanding, as the editors describe it.  Christoph Flamm’s notes to the Bärenreiter edition are definite as to Scriabin’s intention not to tie over this barline, citing the repetition of accidentals in bar 99 as being conclusive proof. [11]

2) the movement of the middle voice in bars 122–123, 126–127, 136–137, 383–384, 387–388, 397–398  ( Meno vivo sections): the manuscript gives a downward resolution in the middle voice (d flat – c in the first passage and g flat – f in the second) whereas the printed editions give an upward resolution (d flat – d natural and g flat – g). It is as if only at a second attempt (as revised for the printed version) has Scriabin fully realised the implications of his own (then very new) harmony: the resolutions as printed resolve into the augmented harmony around them, whereas the resolutions in the earlier version do not. Knowing about this early version, moreover, adds point to the grandiose version of the same section at bars 315–316, 319–20 and 323–324, where the downward resolution is retained. One might think of the meno vivo sections as being potential states, and the grandiose version as representing a fully realised condition.

It should be remembered that the Sonata was composed at breakneck speed, completed in a few days, and revised afterwards; Valentina Rubtsova, editor of the facsimile, suggests that the manuscript provides a glimpse into the composer’s creative laboratory. She further points out that Scriabin uses double barlines to indicate structural divisions, whereas publishers’ house style often requires a double bar at any change of key-signature or time-signature. This has resulted in the insertion of a number of non-authentic double bars in some published versions of the Fifth Sonata. Double bars occur in the manuscript in the following places only:

            before bar 47 (beginning of main sonata exposition)

            before bar 120 ( Meno vivo , the second subject area)

            before bar 367 (indicating, perhaps a slight hesitation before this rising sequence)

            before bar 381 (parallel passage to bar 120).

The visual effect of the manuscript is therefore more continuous than that of the printed edition. It should be mentioned that the Urtext printed version given in the volume containing the manuscript is a corrected version of the RMI edition. This edition was prepared with the composer’s agreement and during his lifetime. The manuscript, though, is an invaluable source for the reasons given above.

A similar use of double barlines to that in the Sonata no. 5 is made elsewhere by Scriabin, including in the Sonata no. 6 (see below) and the Sonata no. 8. It can be said, from these examinations, that Scriabin uses double barlines structurally or even expressively, and that they often should be made audible in some way, in sharp contradistinction to the purely ‘grammatical’ double bars referred to above. The definition of ‘sometimes’ and ‘often’ is a non-scientific one and comes down to the player’s own interpretive insight, but where there is a double barline and no change of time- or key-signature, the double bar clearly has  structural significance.

The addition of a double bar by a publisher can confuse the interpreter. For example, Bach’s engraved edition of his own Second Partita has no double bar, in fact no barline at all, at the beginning of the third section of the Sinfonia (ill. 4.) The insertion of a double bar at this point, even in some ‘Urtext’ editions (because of the change of time-signature) leads many performers to treat the final chord of the middle section like a ‘starter’s pistol’ for the quicker final section, which, as consideration of the musical content will quickly demonstrate, starts on the second quaver of the bar with the fugue subject.

ill. 4) Manuscript of Sinfonia from Bach’s Keyboard Partita no. 2

The notes by Valentina Rubtsova to the facsimile of the Fifth Sonata mention Scriabin’s differing use of rallentando in its full version and of the abbreviation rall. , and the possible implications of such usage for performance:

[…] in b. 382 Scriabin indicated molto rallentando , while in b. 386 and 390 he confined himself to [a] shortened and somewhat careless rall.  It seems that the theme sounded to him just like that: with a more substantial broadening in b.382 and in a somewhat generalized manner in b. 386 and 390. [12]

A related expressive function of details in the writing of performance directions will be noted below in the case of the Poème-Nocturne , op. 61.

Now we move to a group of Scriabin’s manuscripts, recently published on line by the Juilliard School of New York. The works with opus numbers 52, 53 and 58 to 64 were published by Koussevitsky’s firm, RMI, mentioned above. (The Poem of Ecstasy , op. 54, was already contracted to Belaieff, as were opp. 56 and 57; there is no work with the number 55.) Opp. 59 and 61 to 64 (op. 60 is an orchestral score, Prometheus ) were bound together in one volume at some time. Koussevitsky’s archive went with him when he left Russia in 1920. The majority of the archive is now in the Library of Congress, but this volume somehow came onto the open market, and was sold at Sotheby’s in 2000. The purchaser, Bruce Kovner, businessman, collector and philanthropist, generously donated his entire collection to Juilliard School in 2006, and Juilliard have made the contents of the volume he purchased available in excellent facsimile online [13] – a huge step forward in making Scriabin manuscript facsimiles available to the musical public. The Sonata No. 7 has also been published in an equally excellent facsimile by Henle with informative notes by Valentina Rubtsovsa. [14] Some observations on these manuscripts follow.

Op. 59 no. 1, Poème

b. 15: an accidental is missing before the r. h. d sharp, third quaver of the bar. This mistake, as well as the missing accidental in b. 13, was reproduced in the first edition, but corrected by Zhilyayev.

b.19: the fifth quaver in  r. h. is spelled in the manuscript as b double flat, harder to read than the a natural printed in most editions, but consistent with the d flat bass of this bar and typical of Scriabin’s fastidiousness in his choice of accidentals. The spelling was reproduced in the first edition, but altered without comment by Zhilyayev, who did not have the manuscript available. (This manuscript was also not available to the editors at the time of preparation of the Muzyka-Jurgenson edition.) Subsequent editions, including Muzyka-Jurgenson, followed Zhilyayev’s reading. The ‘spelling’ of a note may well have an effect on the player of a wind or string instrument as regards actual pitch, and Sabaneyev discussed this with Scriabin. But a good pianist will often respond by minute adjustments of touch to the difference of inner hearing caused by enharmonic differences of spelling. [15]

b. 23–25: there is evidence in these bars of erased octave doublings in the right hand phrases, though the lower octave to the initial a, r.h. second quaver of bar 23, has not been erased – a mistake rightly queried by the editor. Here, the texture is delicate and transparent, but it will be remembered that Scriabin often preferred single notes to octaves in passages of powerful sonority where an effect of brightness was desirable (e.g. final climaxes of the Fifth Sonata and Vers la Flamme ). Sabaneyev criticised the composer for scoring his orchestral music with doublings at the unison rather than the octave, but this seems to have been Scriabin’s preference in many places.

b. 28 and 30: The three r.h. quavers which continue the middle voice at the end of these bars were first written by Scriabin in the upper staff, but then erased and put into the lower staff, clarifying the voice-leading. This is an example of the care taken by the composer in the optical presentation of his voices.

b. 34: the manuscript and the first edition have d natural in r.h. upper voice, second, fourth and sixth quavers. This error was corrected by Zhilyayev, who changed these notes to d sharps, noting the analogy in bar 6.

b. 36: the tie between third and fourth quavers of the bar in r.h. is missing in the manuscript, but was supplied in the first edition – possibly a correction in proof by the composer.

b. 38: the acciaccatura at the beginning of the bar for both hands was written by Scriabin with a quaver tail without the customary cross-stroke. This seems to have been the composer’s usual habit – compare the beginning of the Sixth Sonata, written in the same way, as well as other instances – and, in the case of the present Poème, the notation was altered in the first edition. The RMI edition of the Sonata, however, shows the acciaccatura with a quaver-type tail, though many later editions add a cross-stroke. It may be felt that in both cases Scriabin’s notation may suggest a more deliberate execution of the acciaccaturas.

b.39: note the beautiful and unusual notation of the final sonority, a single stem uniting sounds many octaves apart and played by two hands. It is suggestive of the deep and strange sonority of this ending. It is given by most editions, but not by Peters, who ‘normalise’ the notation here. [16]

  Op. 59 no. 2, Prelude

A number of errors in the manuscript were correctly questioned by the editor, and further inconsistencies were corrected by Zhilyayev.

The rhythm at the beginning of bar 40, though, (marked avec defi – Scriabin omitted the acute accent on the second letter of défi ) written as three even quavers, was retained in the first edition and subsequent ones despite having been questioned by the editor. Muzgiz, following Zhilyayev, queries whether it should be made consistent with the dotted rhythm of other similar bars. The Peters edition by Günter Philipp adopts this suggestion. [17] The present writer is of the opinion that the three even quavers help to express Scriabin’s suggested ‘defiance’.

Intriguingly, a slip of paper was pasted over the original manuscript at bars 26–28. This is at the position, characteristic of Scriabin’s short pieces, where the opening material begins to be repeated in transposition. The repeated chords on the paper slip, which anticipate the coda from bar 54 to 57, may have been a late compositional addition by Scriabin. (Other paper slips are observable, pasted into the manuscript of the Sonata no. 6.)

Op. 61, Poème-Nocturne  

(The manuscript of this work was also not available to the editors of Muzyka-Jurgenson, who were, however, able to consult a rough draft, as in the case of op. 59.)

Space will not permit a detailed analysis of longer works such as this, but some interesting features present themselves. The first page of the manuscript is written in two inks, blue and black. On the first system, the clefs and the r.h. phrase from the downbeat of bar one are written in blue, whereas the upbeat is written in black. A list of incipits for projected works by Scriabin exists in the Glinka Museum archives, and has been examined by the present writer. This list corresponds to a description by Sabaneyev of a collection of thematic material ‘for sonatas’. In the list, the Poème-Nocturne theme lacks its upbeat. Perhaps the addition of the upbeat was a late inspiration, like Beethoven’s last-minute addition of a two-note upbeat to the slow movement of the Hammerklavier sonata. At the recapitulation, b. 109, the theme starts on the downbeat.

In bar 3 and the corresponding passage, bar 110, Scriabin writes the   molto più vivo directly over the l. h. figure on the second beat. This is placed too late in Muzgiz, but correctly in Muzyka-Jurgenson.

Scriabin’s usual practice is to write his performance directions or remarki in lower-case letters, but in the Poème-Nocturne and some other works this practice is departed from in certain places. The new ideas at bar 29 and 33 are marked in the manuscript Avec langueur and Comme en un rêve – suggesting, perhaps, that the arrival of these new ideas should be ‘shown’ by the player in some way, possibly by a very slight elongation of the rests before them, as with the start of a new sentence or paragraph in a text which is read aloud. The same thing happens at Avec une soudaine langueur  ( sic ) in bar 52, and Avec une passion naissante and De plus en plus passionné in bars 77 and 79. The first edition reproduces this peculiarity, but not Muzgiz or Muzyka-Jurgenson. It has not been possible to determine whether they are following Zhilyayev, as seems likely. [18]

The addition in printed editions, including the first, of a poco acceler. [ sic in RMI] over the barline of bb. 46-47 is clear evidence of intervention by the composer at proof stage.

The long slur at comme un murmure confus (bar 103 to 110) is correctly reproduced in the editions known to this writer, but seeing it drawn so clearly and with such certainty in the manuscript is a reminder not to yield to the temptation to ‘explain’ the structure of this mysterious passage, and especially not to render the arrival of the recapitulation in bar 109 with any excessive degree of clarity. The piece reflects Scriabin’s exploration of states of consciousness on the borders of sleep, as he explained to Sabaneyev. On the other hand, the remarka at the point of arrival of the recapitulation ( Avec une grace [sic] capricieuse [19] ) does have the capital letter we have come to expect in this work when important thematic ideas are presented.

Op. 62: Sonata no. 6

This work is so successfully suggestive of dark areas of the spirit that a listener once suggested to the present writer, after a performance of the Sixth Sonata, that the music was evidence of psychosis in the composer’s own mind. The listener was, of course, making an error like that of Don Quixote at the puppet show – mistaking dramatic presentation for reality. The lucidity of the manuscript, as well as the highly organised and disciplined musical structure, show that Scriabin knew very well what he was doing.

Towards the end of the work there is a notorious high d written, which exceeds the range of the keyboard (bar 365). This note has also been quoted to me by music-lovers as evidence of Scriabin’s supposed delusional condition. Firstly, it should be pointed out that the d is dictated by analogy with bar 330. We can make a comparison with Ravel in this case. In the climax of Ravel’s Jeux d’eau there is a bottom note which, harmony dictates, should be G sharp, but as the note does not exist on most keyboards, Ravel wrote A. [20] Similarly, Ravel ‘faked’ octaves at the bottom of the piano in the recapitulation of Scarbo by writing sevenths. Scriabin, ever an idealist, preferred to write the pitch required by the music and to leave the solution to the interpreter. [21] Furthermore, the whole phrase from bar 365 to 367 is written an octave lower in the manuscript than in the first edition, thus bringing the d within the keyboard range. [22] An explanation for the late change between manuscript and first edition, which transposes the phrase up an octave, may be that Scriabin never performed this very difficult work – the premiere was entrusted to Elena Beckman-Shcherbina. Perhaps, in working on the piece with her and hearing the passage played up to tempo, Scriabin suggested that she try the phrase an octave higher, as the analogy with bar 330 demands, and realised that the chord flashes by with the substitution of c for d as the top note practically unheard. In her memoirs, Bekman-Shcherbina describes Scriabin’s detailed work with her on his compositions, but, alas, gives no details of the work which must have taken place on the Sixth Sonata.

The composer’s notation of the acciaccatura which starts the Sixth Sonata has already been mentioned (see above, Poème op 59 no. 1.) As in the case of the acciaccatura which sets off the Sonata in A minor by Mozart (K.310), this opening should not be played too glibly, but with a certain weight. Indeed, for a player whose hand cannot stretch the initial chords, it is a help to know that this arresting opening should not be hurried over. More importantly, an execution on the slow side helps to emphasise the sombre, unyielding severity of the opening sonority. It is perhaps unfortunate that publishers’ ‘house styles’ lead to a routine ‘correction’ of Scriabin’s notation of the acciaccatura.

‘House style’ has also led to the omission in some editions of the Sixth Sonata of a number of ‘structural’ double bars provided in the manuscript by Scriabin. Scriabin wrote double bars  before b. 92 (coda of exposition), 124 (beginning of development),  206 (recapitulation), 268 (end of recapitulation of second subject. As this last-mentioned place involves a change of time signature, the double bar is technically required, and is reproduced in printed editions, but there is a definite break in the atmosphere here.) The calligraphic beauty and clarity of b. 244–267, a notoriously complex passage, repays study.

Op. 64: Sonata no. 7

The manuscript of Sonata no. 7 is commented upon in detail by Valentina Rubtsova in her notes to the facsimile published by Henle, and these notes are published online. [23] They repay careful study, and Rubtsova gives an account of the other manuscript versions of the Sonata, one of which the present writer has examined in the Glinka Museum. The existence of this text, with its many alterations and differences from the finished version, calls into question the accusation, made by Sabaneyev and since repeated, that Scriabin established a ‘scheme’ of empty numbered bars and proceeded to ‘fill’ it with music. While numbers were clearly important to the composer in establishing a ‘crystalline’ form, the procedure of composition was far more complex than that, as the painstaking work shown in these manuscripts reveals.

Ill.5 is a reproduction of the first page of Scriabin’s earlier draft, with the remarka ‘Prophétique’ for the opening ‘fanfare’ motive. This marking, later rejected, gives a sense of the gesture of this musical idea, which is essential to the close connection of the Sonata with Scriabin’s idea of the ‘Mystery’, something he discussed with Sabaneyev. While visiting an exhibition in London’s Tate Gallery of paintings by the English artist George Frederic Watts (1817–1904), the present writer was struck by the convulsive, ‘prophetic’ gesture depicted in Watts’ ‘Jonah’ (1894), a painting which is reproduced online. [24] The performance of these opening bars needs to be as striking and dramatic as Watts’ painting.

ill. 5) 1st page from manuscript of Sonata 7

Op. 63, 2 Poèmes

In the second of these short works, some l. h. notes in the chords in b. 6 and 7 have been erased; these notes are relocated to the upper stave, where they belong musically, and marked m.g. (The m.d. in bar 7 is a characteristic slip, rightly questioned by the editor). The top note of these chords is shown in the manuscript as f natural and was so published in the RMI edition. Zhilyayev, who had discussed this passage with the composer, corrected this to f sharp. [25] The first notation shows how essential the gesture of hand-crossing was to Scriabin’s conception of the sonority here. Some pianists make the simultaneity of sounding of notes into a priority, but a letter by Scriabin to Belaieff which has been dated to December 1894 shows that spreading of chords was essential to his conception at times (such spreading was, in any case, far more prevalent at that period than now). In this letter, Scriabin writes that the ‘wide chords’ in bb. 9-10 of the Impromptu op. 10 no. 2 ‘must be played by the left hand alone, for the character of their sonority in performance depends on this.’ [26]

The Scriabin facsimiles which have been made available in Russia and America are invaluable sources of information and inspiration, and studying them brings us just a little nearer to the composer. It is hoped that the notes above will encourage players and music lovers to investigate them, and also that more facsimiles may follow in the future.

Simon Nicholls, 2016.

[1] http://juilliardmanuscriptcollection.org/composers/scriabin-aleksandr/

[2] This edition was the basis of those of the sonatas, preludes and etudes reprinted by Dover, though some of the editions chosen for reprinting contained errors not present in the complete edition. Dover did not reproduce the essential information that nuances and rubatos given in brackets in these editions, notably in the op. 8 etudes, were from instructions given by Skryabin to Mariya Nemenova-Lunts while she was studying with the composer.

[3] This edition was republished in limited numbers by the Scriabin Society of the U.S.A.

[4] http://expositions.nlr.ru/ex_manus/skriabin/index.php

[5] The letter is dated ‘19 th April’ by Scriabin and dated to 1896 on the website. The edition by Kashperov of Scriabin’s letters (A. Scriabin, Pis’ma , Muzyka, Moscow, 1965/2003, attributes it to 1897 (p. 168–169, letter 144.)

[6] This letter is given by Kashperov ( op.cit. ) on p. 492–3, letter no. 545.

[7] Scriabin: Sonata no. 5, op. 53. Urtext and facsimile. Muzyka, Moscow, 2008.

[8] Boris Pasternak, An Essay in Autobiography , trans. Manya Harari,  Collins and Harvill, London, 1959, p. 44.

[9] I am grateful to the distinguished scholar of Russian literature Avril Pyman for pointing this out (private communication). The French text was added by hand by the composer to the proofs of the first edition (information from the notes by Christoph Flamm to Skrjabin: Sämtliche Klaviersonaten II, Bärenreiter, 2009, p. 43), but perhaps we should trust Scriabin’s Russian, his native tongue, rather than his French in this case.

[10] Ibid. ,  p. 44.

[11] Muzgiz, vol. 3, commentary, p.  295. Christoph Flamm, loc. cit. The printed version supplied in the Muzyka edition of the facsimile adds the ties in dotted lines, following Muzgiz. It is certainly tempting to make the ‘correction’: most pianists play the tied version, which persists in many editions. But such bringing into line of parallel passages should not be done automatically.

[12] Valentina Rubtsova, notes to facsimile of Scriabin Sonata no. 5, p.57.

[13] Cf. n. 1, above.

[14] Alexander Skrjabin: Klaviersonate Nr. 7 op. 64. Faksimile nach dem Autograph. G. Henle Verlag, Munich, 2015. The foreword is also available online: http://www.henle.de/media/foreword/3228.pdf

[15] Cf. Paul Badura-Skoda, Interpreting Mozart on the Keyboard , trans. Leo Black, Barrie & Rockliff, London, 1962, p. 290 for a brief discussion of one example of this problem. Brahms wrote against any attempt to improve on Chopin’s orthography at the time of the preparation of a new complete edition of the Chopin piano works (letter to Ernst Rudorff, late October or early November 1877, quoted in Franz Zagiba, Chopin und Wien , Bauer, Vienna, 1951, p.130.) All this comment is made about a single accidental because the orthography of Scriabin’s late music is such a wide-reaching, fascinating and important topic, perhaps seen by some students of the music only as an irritating difficulty of reading, and this is one small example of it. For a discussion of Scriabin’s orthography and its significance see George Perle, ‘Scriabin’s Self-Analyses’, Music Analysis, Vol. 3 no. 2 (1984), p. 101–122.

[16] Skrjabin, Klavierwerke  III , ed. Günter Philipp, Peters, Leipzig 1967.

[17] Ibid . Philipp notes the variant in an editor’s report, p. 98.

[18] Christoph Flamm discusses Scriabin’s remarki , and comments that the composer accepted with indifference the publishers’ treatment of his upper or lower-case letters ( op. cit. , p. 42). Nonetheless, these small ms. differences can be infinitely valuable suggestions to the performer. Flamm points out that even the size of the letters in which a remarka is written can be of significance for the performer.

[19] Scriabin spoke good French, but accents sometimes go missing in his writing. This circumstance could perhaps be compared with his tendency to miss out accidentals.

[20] The present writer has read a gramophone record review in which this famous bass note was described as a ‘wrong note.’

[21] The Austrian piano firm Bösendorfer added a few bass notes to the range of its largest instruments. Apart from making Ravel’s bass notes possible to ‘correct’, the bass strings add to the resonance of the piano. No such advantage attaches to an addition to the top of the keyboard.

[22] Noted by Darren Leaper.

[23] Cf. n. 15, above.

[24] http://www.tate.org.uk/art/artworks/watts-jonah-n01636

[25] Muzgiz, vol. 3, commentary, p. 296.

[26] Kashperov, op. cit. , p. 87.