Shadow Mountain Writing Workshop Coming Up Again This Friday 10/23/15

Desert/Mountain writers looking for a workshop? Or unsure when the next workshop begins? Read below, from workshop leader Jean Waggoner:

Shadow Mountain Inlandia Writing Workshop 10/23/2015 with Jean Waggoner

We meet in the Meeting Room at Palm Desert Library from 10:00 am – noon.

Theme for this Friday’s Workshop: Artistic Synergy

Given this inspiration, I guess I’ll have to bring my laptop for sharing:

Minimalist Duets in Sculpture and Dance (from Hyperallergic)

Where Sculpture and Dance Meet: Minimalism from 1961 to 1979 is an exhibition at the Loretta Howard Gallery that explores this overlap. Curated by dancer–turned–dance critic Wendy Perron in collaboration with historian Julie Martin, the show pairs videos of historic performances of dances by Merce Cunningham, Lucinda Childs, Trisha Brown, Simone Forti, Yvonne Rainer, and (surprisingly) Robert Morris, with sculptures by Ronald Bladen, Donald Judd, Sol LeWitt, Morris, and Andy Warhol, exploring the dialogue surrounding concurrent ideas of minimalism in dance, performance, and art.

“Musee des Beaux Arts” by W. H. Auden (read by Tom O’Bedlam) + “The Fall of Icarus” by Pierre Breughel.

Villa Lobos & Ballet

Love in Damascus [music as antidote to conflict]

PROMPT: Think of an artistic event or work that has inspired your creativity in writing or in another form of expression–or see what comes up as you look at these bits that captivated my attention recently. I particularly like the comment cited in the Hyperallergic article, “Sitting in on a rehearsal, the-soon-to-be-sculptor Robert Morris…commented that the best moments were when they weren’t dancing.” I think I feel a poem coming on.

Haiku / Poetry Writing Workshop in Joshua Tree, March 7, 2015 by Ruth Nolan

Desert Institute at Joshua Tree National Park Presents: Desert Haiku Writing in Joshua Tree National Park, March 7, 2015 at the Black Rock Visitor Center, Joshua Tree National Park. Led by Ruth Nolan and Deborah P. Kolodji.

Joshua Tree, CA—Spring is coming soon, and March is an ideal month to visit the Mojave Desert as wildflowers begin to bloom! Be inspired by the power and beauty of the desert setting to learn how to write haiku—one of the most basic types of poetry—as well as other nature-based forms of poetry in this writing-intensive field seminar. Participants will take brief walks and be introduced to the ecologic and cultural/historical richness of the desert at Joshua Tree studded Black Rock Campground. In addition to writing haiku that stems from the direct experience of this natural desert wonderland, participants will also be led in writing other short forms of poetry and some short prose stemming from creative writing prompts. This workshop is open to writers of all levels, from beginning to advanced, and is suitable for ages 14+. The workshop is led by desert poet/writer Ruth Nolan, MFA, Professor of English and Creative Writing at College of the Desert, and poet Deborah P. Kolodji, former chair of the Southern California Haiku Study Group.

TO REGISTER OR RECEIVE MORE INFORMATION: contact Kevin Wong, program director via email at or by phone (760) 367-5583.

You can also register online on the Desert Institute website.

Sonambulant Funambulist: Interview with Julie Brooks Barbour by Maureen Alsop

Julie Brooks Barbour is an associate poetry editor at the journal Connotation Press: An Online Artifact and a professor at Lake Superior State University. I’m delighted here to offer an interview with Julie along with a selection from one of her published poems which underscores the distinction of her poetry and lyrical interest.

Maureen: Where do you see the current scope/trends in poetry at this point in time and where do you see your poetry in that evolution?

Julie: I notice that contemporary poets are writing about pop culture, history, fairy tales, race and gender, but, of course, this list doesn’t begin to cover the subjects or issues poets are taking on. The scope is large and broad, and, I think, can’t be pinpointed to any certain trend, but if there is one, I’d have to say it’s that poets at this point in time aren’t afraid to take on difficult subject matter. Where do I see myself in this evolution? I write about gender issues, specifically those of women. I’m interested in the ways women are portrayed in our culture, whether through body image, fairy tale characters, ideas of motherhood, or domestic work.

Brooks Barbour’s poem “Stone” published at Rose Red Review highlights the sensuality, directness and underscores these poetic themes as demonstrated in the following excerpt:

“You are ageless, a perpetual girl. If a ship navigates

your waters, it will not be rocked. You will not be

the legend that folds its sails, that causes the wreck

on the shoreline. You are the easy route, devoid of rocks.

You are the way written about in logs and travel journals:

the sunshine, the stillness, the atmosphere of peace.”

Maureen: How do you balance your priorities when managing the multitude of roles you carry as a woman, mother, wife, educator and writer?

Julie: Each part of my life needs its own time and one thing cannot take priority over everything else. I work at switching gears between work and home, writing and teaching, editing and writing. Setting up boundaries between work and home keeps me balance, though I won’t say that my life is completely calm or that I stay that way. It’s important that I don’t think about how much I have to do, but what I’m doing at the present moment. I also have to remember to take time for myself, whether I’m reading a novel, watching a favorite television show, or watching the snow fall (which I do a lot where I live). Time to rest and refuel is important to me. During this time I might suddenly reflect on my work, whether that be teaching or writing or editing. Times of repose really energize me creatively.

Maureen: How does your teaching influence your writing?

Julie: Teaching influences my writing in different ways. Many times I’m inspired by the literature I teach, whether it be classic essays in my composition classes, poetry and fiction in creative writing workshops, or drama in an introductory literature course. Each semester I try to teach at least one text or a few pieces that are new to me so I can discover something about writing with my students. I’m also inspired by my students and their willingness to take risks with their writing, whether through form, subject matter, or genre. I may be a teacher but I’m also a student, constantly learning from other writers, and my students remind me just as I remind them that I shouldn’t steer clear of risks. (They also remind me to take my own writing advice, not literally, but when I hear myself give them advice and know it’s something I need to do, that in itself is a reminder.)

Julie Brooks Barbour is an associate poetry editor at the journal Connotations Press: An Online Artifact. Read the full poem at Rose Red Review.

Resolutions for Writers by Cati Porter

Here we are at the end of December and once again we are about to turn the corner into a new year. Many of us see this as a fresh start and set goals for ourselves for the following year. For writers, often this means setting out to finally write that memoir or that novel. To accomplish this, I recommend setting small daily goals. By breaking it up into bite size pieces, the project will be much easier to digest.

To forge a writing practice for ourselves, it is best for writers to carve out a few minutes from every day. If you’re a poet, this might mean writing a few lines of verse or even the first draft of a whole poem. If you write fiction, opt to write a paragraph or two. If your aim is to write the Great American Novel, this allows you to chip away at it slowly but steadily. Incremental goals are much easier to keep. And if on any given day you happen to have more time once the ball gets rolling, you can stay with it, but if not, you’ve at least met your goal for the day. Setting a timer helps.

For my part, early mornings—prime time for writing, where I wake long before my kids—are usually spent frittered away with a cup of coffee or three and surfing the net. What else could I be using that time for? So here is my resolution: I will write just fifteen minutes a day. It doesn’t sound like much, but if I keep it up then I will have written for 5,460 minutes by the end of the year. This morning, those fifteen minutes have netted me about three hundred words. If I were to do this every day, by the time the next new year comes around, I will have written over 100,000 words. And, voila! The Great American Novel—Round One. Sure, there will be false starts. Sure, there will be days when I flake out. But should I fall off the wagon, I’ll just hop back on and start again the next day. Or the next.

Like any goal, it is more easily met with the support of a routine, good friends, and maybe some prompting. To begin:

First, decide on a routine that suits you—writing in the morning, on the lunch hour, at night. You may need to try different times to figure out what works best.

Second, decide how you’d like to write. If you prefer to write longhand, you could treat yourself to a nice writing journal, but a yellow legal pad works just fine too, or you could be like Emily Dickinson and write on scraps of old envelopes or whatever is handy. You can even write using your phone. I have written using the notepad app on my iPhone, or sometimes directly into emails to myself.

Third, If you miss writing one morning, don’t fall into the trap of feeling like you’ve blown it for the day—even if you write at a different time, or for fewer minutes than you planned, at least you wrote! Allow yourself some latitude.

And if you’re looking for inspiration, here are a few places to start. Two of the leading magazines for writers, Poets & Writers Magazine and Writer’s Digest, both have pages with free writing prompts on the web:

– Poets & Writers Magazine “The Time Is Now”:

– Writer’s Digest Creative Writing Prompts page has new suggestions about once per week from the silly to serious:

Poets & Writers also has a page listing the Best Books for Writers: with everything from poetry craft books to writing nonfiction to how to publish your memoir to Virginia Woolf’s writer’s diary to issues of copyright and other practical things. Some books that I have personally found useful: Ann Lamott’s Bird by Bird, Natalie Goldberg’s Writing Down the Bones, John Drury’s Creating Poetry, and Finding What You Didn’t Lose by John Fox.

And it helps to have the support of like-minded writers. Being a part of a writing group is a great first step. Finding one can be a challenge, but there are many ways to go about this. First, look to your friends. You’d be surprised at how many people write. Also, you can look to the web—just type in “how to find a writing group” in the search bar. Or you could join one of Inlandia’s free writing workshops, which is a slightly more structured form of writers group, offering critique and craft tips in addition to the support of other writers, plus opportunities for publication and publicly sharing your work. With workshops in six different locations throughout the Inland Empire, there’s bound to be one near you.

Whatever you decide, if you begin the new year with some reasonable yet flexible goals in mind, by this time next year, you’ll have a brand new body of work to be proud of. I’m with you. Let’s go.

For more information about Inlandia’s writing workshops, please visit

For All Those Who Ask, What *is* Inlandia? by Cati Porter

Once again we are approaching that time of year when we give thanks for friends and family, take stock of what we have accomplished, and express appreciation for all those who have made it possible. So, thank you—we are all Inlandia.

A question I get asked regularly is, what is Inlandia? We have now been writing these columns for well over a year, and I don’t think we have ever addressed that directly here. Sure, you can make out who we are by the patchwork of topics covered here; what you see is what Inlandia is and does: many voices, all hailing from Inland Southern California, celebrating the region. But on the heels of what has been a banner week for Inlandia, I thought I would try to explain it in a little more detail.

The Inlandia Institute was established in 2007 as a partnership between the City of Riverside and Heyday, our co-publisher, after the publication of the anthology Inlandia: A Literary Journey through California’s Inland Empire. The idea was to found a literary and cultural center here in the Inland Empire that focused on the writers and readers of the region. Soon after, Inlandia moved into our own office, incorporating in 2009, and in 2012 Inlandia was granted non-profit status as a 501(c)(3).

Inlandia has five core programs: Children’s Creative Literacy, Adult Literary Professional Development, Publications—both with our co-publisher Heyday as well as a locally-produced independent imprint, Free Public Literary Events, and the Inlandia Literary Laureate. What does this translate to? Just this past year, Inlandia has:

– Served over 2000 children, including at-risk youth through The Women Wonder Writers program of the DA’s office, resulting in a collection of written work and a public reading and discussion; and in programs in Title 1 schools like Fremont Elementary, where we held a book discussion and gave all 200 fifth-graders and sixth-graders a free copy of Gayle Brandeis’ young adult novel, My Life with the Lincolns, thanks to a generous Rotary sponsorship.

– Served over 2400 adults through public outreach events like Celebrate Mount Rubidoux and the Mayor’s Celebration for Arts & Innovation, and by hosting free monthly author events during ArtsWalk at the Riverside Public Library, and writing workshops throughout Riverside and San Bernardino Counties, including a Family Legacy Writing Workshop at the Goeske Senior Center.

– Published: No Easy Way, the story of the integration of Riverside schools, by Arthur L. Littleworth, a chapter integral to Riverside history; Vital Signs by Inlandia Literary Laureate Juan Delgado and Tom McGovern, which went on to win an American Book Award from the Before Columbus Foundation; and the Orangelandia anthology, which contains the fruit of Riverside’s citrus heritage. And launching this week, a new children’s chapter book, Tia’s Tamale Trouble, by Inlandia author and educator Julianna Maya Cruz.

Inlandia also undertakes special projects from time to time, like “Making Waves in Inlandia,” which chronicles the stories of the women’s environmental movement through oral histories and a very cool interactive component on our website, including a map of all the spaces saved by local environmental activists, and video interviews.

We also have two other interactive features on our website—a map that details the location of every Inland Empire site mentioned in our flagship Inlandia anthology (which, regrettably, is currently out of print—but we are working on a second edition! More about that in a future post). And, just this past week, with the publication of No Easy Way, we launched an interactive timeline, “Time Travel through Riverside’s School Integration History.”

Further, after the first of the year, we will be launching a six-part series of monthly public civic discussion forums featuring esteemed panelists and partner organizations, with the kickoff event at UCR’s Culver Center on January 31, 2015, at 1 pm.

One of the sound bites associated with Inlandia is, “celebrating the region in word, image, and sound.”

Planned projects include a new Adopt-a-School program which will bring literary arts education, taught by professionals in the field, to area schools; a Native American Voices conference at the Dorothy Ramon Center in Banning, featuring and celebrating indigenous peoples; a writing workshop at the Ontario Museum of History and Art celebrating black aviators in February, in honor of Black History Month. Not to mention our usual monthly Arts Walk series at the downtown Riverside Public Library and the free writing workshops held in six different cities throughout the region.

We are supported wholly through the generous donations of our members, supporters, and through grant funding from organizations like the City of Riverside, the Riverside Arts Council, the E. Rhodes and Leona B. Carpenter Foundation, and Cal Humanities. But like any arts organization, we are constantly thinking of creative ways we can ensure continued funding while also making it fun for contributors. Last week, we participated in the county-wide Give BIG day of giving, and to all of those who helped us meet our goals, thank you!

We are also currently in the midst of a book fair fundraiser sponsored by Barnes & Noble. If you missed the kickoff event on Saturday November 22, which featured readings by notable locals Larry Eby, Isabel Flores, Stephanie Barbe Hammer, Julianna Cruz, and a flurry of contributors to the Orangelandia anthology, know that you can still participate through the end of the week by shopping online or in store (any Barnes & Noble anywhere, as long as you have Inlandia’s code: 11484482), through Black Friday. So if like most people at this time of year you are beginning to think about holiday gifts, give a gift to Inlandia when you shop at Barnes & Noble this Thanksgiving week.

From all of us at Inlandia, we give thanks for you this week, and every week, throughout the year.

Other Desert Mothers: Ruth Nolan at Riverside Art Museum by Lisa Henry

Tonight, Friday November 7, Salt+Spice will present author, educator, and environmental activist Ruth Nolan, who will launch her latest collection of poetry, Other Desert Mothers, at the Riverside Art Museum. A wine and cheese reception will begin at 6:30pm with the reading set to begin at 7:00pm.

Ruth Nolan knows more than a few things about the desert, and about motherhood. A native of the Inland Empire and a current resident of Palm Desert, Nolan has spent countless hours hiking, camping, writing, parenting, grandparenting and firefighting in the vast, dry landscapes of California’s deserts. Her new collection of poetry, Other Desert Mothers (Old Woman Mountains Press, 2014), is a meditation on her unique desert journey. The book will be released in November and Nolan will celebrate the publication with a reading and reception at Riverside Art Museum Friday November 7 at 6:30pm.

A long-time desert dweller, Nolan has experienced adolescence, motherhood, and now grandmotherhood in and around the Mojave Desert.

“My parents moved us to a very remote area of the Mojave Desert when I was 13, from Rialto, CA.” It was a difficult transition for Nolan. She readily admits, “I was in shock at the vast contrast between the Inland Empire and desert, but instantly smitten and blown away by the beauty and power of the desert. I’ve been pinned down by the desert, both literally and metaphorically, since then.”

As single mother and a professor of English and Creative Writing at College of the Desert, both Nolan’s personal identity and professional career have been forged in the vast and surreal landscape, which she describes as “my #1 geography.” This place is “a sort of complete dreamscape, an altered state that both inspires, elates, and intimidates me. I have only to step into the desert on a hike or start a road trip across its vast, empty roads, and I feel that sense of unbroken dreamscape again.”

Nolan has fully embraced her hometown as rich and fertile ground where she can write, study and teach. An avid desert advocate and conservationist, she lectures widely on literature of the desert, and has taught desert-based writing workshops for the Desert Institute at Joshua Tree National Park. Among her many notable publications are No Place for a Puritan (Heyday Books/Inlandia, 2009), an impressive anthology highlighting the diverse literature of California’s deserts, Orangelandia: The Literature of Inland Citrus (Inlandia, 2014) and New California Writing, 2011 (Heyday).

“For me, the Mojave hasn’t been a wasteland; nor, even as it’s been discovered by artists more recently as a highly desirable location for a more refined, esoteric aesthetic. The Mojave Desert is a free-flowing experience of consciousness and geography. It’s a place of life, a place of people—however far apart, a place of sustenance and nurturing and enlightenment.”

Lisa Henry teaches at San Bernardino Valley College and is founder of Salt+Spice, a community-based arts organization.

Literature Conference in Riverside by Isaac Williams

The Pacific Ancient and Modern Language Association (PAMLA) is having its 2014 conference at the new Riverside Convention Center from Friday, October 31 until Sunday, November 2. Workshops are varied in focus and run the gamut from classical literature to new mediums, like webcomics. In addition, many workshops are based on literature’s connection with sociopolitical issues.

Registration for the conference at its regular price closes on September 10. Students from Riverside City College, La Sierra University, University of California, Riverside, Cal Baptist University, and Chaffey College can attend for free.

If you know of any other upcoming conferences or panels that are (relatively) local, please let us know!

Timothy Donneley & the Riverside Inlandia Creative Writing Workshop


The Riverside Inlandia Creative Writing Workshop group and guest Timothy Donnelly, Columbia University professor and author of The Cloud Corporation, winner of the 2012 Kingsley Tufts Prize. Great session in which we created a collaborative bouts rime poem using the endwords from Robert Frost’s “Acquainted with the Night”. Thanks, CGU, for reaching out to the Inlandia Institute!


Inebriated Firebird

Do not go into the mysterious night
Or you will be drenched in the driving rain
in which we see no speck of light
as we try to avoid creatures that run into our lane
we have kidnapped Santa Claus and the beat
goes on, which our inferior brain cannot explain
and we don’t hear our capricious feet
as the cilia in our ears cement the ancient cry.
We tumbled down the inebriated street
and down some grotesque path, we said goodbye.
I walk solo, she looks down from a height
as gargoyles howl the night away, as ribbons uncoil in a dawning sky.
The asphalt tilts, the filthy water drains out, all is made right.
The speck bores a hole in the infinite night.

Kathryn Wilkens

           Kathryn Wilkens has been participating in the Inlandia Creative Writing Workshop in Ontario since September 2011, and in that time it has become apparent that Kathryn’s work is that of a seasoned writer and not a novice. In this piece, “Crossroads”, her rich descriptions of rural life embody both the joy and heartache of childhood, and are representative of her skill in her favored form — the personal essay.
          — Cati Porter



          Barefoot, I slammed through the screen door, bounded down the gravel driveway past the abandoned chicken coop and ran toward the golden fields of midsummer grain. When I passed the equipment shed, my eyes swept to the left, then widened as I stopped short. My heart pounded as I took in a row of stunted cornstalks rustling listlessly in the breeze.

          Of course corn was a common sight in the Midwest—driving down the road you’d see rows of lush green corn stretching off to the horizon. But these plants had emerged in an odd place: on an earthen ramp, directly in front of the double doors which Dr. Martin would soon slide open to roll out the huge harvester. He would wonder how in the heck cornstalks had sprouted there. I was pretty sure I knew.

          The farmhouse my family rented from Dr. Martin was at a crossroads on U.S. 27, two miles south of Lynn, Indiana. A gravel road ran along one side of the property, then skirted soybean fields and crossed railroad tracks before disappearing into the woods. We moved there the summer I was five. My first memories are indistinct, like an Impressionist painting by Monet: flashing fireflies in glass jars, a green sofa where I lay recovering from measles and mumps, newborn kittens mewling their helplessness.

          It was a four-season home. On autumn Saturdays we visited apple farms and burned piles of leaves that fell from elms and maples. In winter, storms coated branches with gleaming ice, and I learned how to skate on the frozen creek.  The whole house vibrated when a truck backed in the driveway and let loose a load of coal which tumbled down a chute into the basement.

          In spring I inhaled organic smells the sun coaxed from the ground on windy days. Along the railroad tracks grew wild strawberries which my older sisters, brother and I picked and ate. We lined up pennies on the rail and waited for the next train to flatten them to the size of fifty-cent pieces.

          In summer we set off fireworks in the driveway, ran through wheat fields after a rain and walked on stilts. At night we spread blankets in the front yard to count cars whizzing past and trace the Big Dipper in the sky.

          Some things lasted year-round—fighting between Dad and my brother, my sisters’ bickering, silent strife between Mom and Grandma. As the youngest in the family, I was powerless to intervene, so I spent time alone—wandering along the creek or reading Bambi in a tree.

          Or I’d play with the litter of kittens in the hay barn. My favorite one, the calico, died and I cried for days. Not long after, a group of men came to shear the sheep, and must have forgotten to close the gate when they left. After dark the flock escaped and several sheep ran onto the busy highway and were killed.

          That summer my mother planted a vegetable garden which yielded tomatoes, cucumbers and carrots. Just for fun I filched a dried-up ear of field corn from the barn, broke off a few kernels and pretended to plant them on the ramp behind the equipment shed.

          Weeks later, as I ran by barefoot, I saw the row of puny cornstalks. Didn’t the corn know I was only playing? Apparently not—the stalks were undeniable proof that it had taken me seriously. My heart pounded—not in fear, but in the dawning awareness that something I did had actually brought about a change in the world.

          By the time I turned seven my Monet memories were sharpening into focus. We would soon move away from the house at the crossroads, a place that marked for me another kind of crossroads, the intersection of childhood and—not adulthood, certainly, but call it personhood. While living there I had learned to count, read, ride a bike and ice skate. I confronted sadness and loneliness. I began to see that a world existed beyond my family, a world of specificity.

          I lived in a particular place. Other places could be reached by going north, south, east or west. The things around me could be counted: two sisters, seven kittens, one brother. Dr. Martin’s farm covered sixty acres, with forty trees around the house. There were 26 letters in the alphabet and 48 stars on the flag. I fit into a logical, quantifiable scheme where nothing was random or vague. My actions had consequences and those consequences were predictable. A penny left on the railroad track would be flattened by the next freight train. And seeds, poked into the earth in jest, would grow into serious cornstalks


Kathryn Wilkens began writing for publication in 2000. Several of her travel articles have appeared in The Los Angeles Times. She has written essays and articles for Writers’ Journal, Personal Journaling, Verbatim and The Christian Science Monitor. Four of her essays have appeared in anthologies, most recently Writers and Their Notebooks (South Carolina Press, 2009). She lives a short drive from the Ovitt Family Community Library in Ontario where she has enjoyed Cati Porter’s Inlandia workshop.

Palm Springs Workshop Special Guest: Linda Troeller

Sorcerer, Mother.

Linda Troeller Visits the Inland Empire, Inlandia Institute Workshop, Palm Springs, March 2011, Self-Portraits in Shadow and Light

“I celebrate myself, and sing myself/ And what I assume, you shall assume/For every atom belonging to me as good belongs to you…” Whitman’s “Song of Myself” invoked the spirit of the afternoon’s workshop wherein visiting photographer, Linda Troeller, asked participants to look within a hand-held mirror and describe what they saw. Troeller, author of Healing Waters, Erotic Lives of Woman, and The Chelsea Hotel Atmosphere, shared with workshop participants a collection of self-portraits, a journey of self documentation which began accumulating with a Leica camera in 1976.  Troeller is known for her use of color, emotion, blur and mood and utilizing portraits and self-portraiture.  Her collection highlights a career which embraces the lives of all whom she has encountered from family, to touchstone photographers, and highlights emotional transitions.

As each participant explored themselves in the mirror, noting the images conjured through self reflection, Maureen Alsop, workshop instructor, and Linda Troeller discussed the exploration of “self” through image and language. The development of a sense of identity, internal power, and a deeper connection with living can manifest through the creative process of self portrayal.

Participants were asked to record five statements on themselves and share this with the group.  From the raw energy of these drafts Alsop and Troeller, a collaborative photo team, helped each student evolve their presentation into unique portraits based on impressions from the written summations.  One participant expressed morose on mortality, and subsequent portraits were set against the backdrop of a black refrigerator to capture the shade in his eyes.  Backlighting one writer’s face against the room’s incandescent bulb captured the idea of “soullessness.”  Another writer wrote of herself as motion, and through group discussion it was determined she should run against a garden setting to illicit the sense of air and movement within her written piece.  Each writer received a copy of art-directed photo via email, and was asked to continue to write, exploring in greater depth the uniqueness of their portraitures.

You were the threads of a song long flightless, scatter-briar through counties.  And you, with your veiled names, she who had seen—O, you’d seen the teeth of a few men’s mind.  More dry the air.  Mirror leaked confessions. And fewer notes. The subtlety of water.  – Maureen Alsop

Linda Troeller is an international photographer and artist with books including Healing Waters, Aperture, Spa Journeys, powerHouse Books, Chelsea Hotel: An Artist’s Memoir among others. She has exhibited at many museums including the Ludwig Forum for Contemporary Art, Aachen, Fotogalerie Forum, Frankfurt, University of the Arts, Philadelphia to the Houston Museum of Fine Arts in the USA.  Her photographs of water, women and fashion are commissioned for hotel décor and by private collections from Toskana Therme, Bad Sulza, Bad Orb to the Musee de L’Elysee, Switzerland. Her photographs are in publications from Art Forum, Marie GQ to the New York Times.

She won Pictures of the Year, 1992 for her world-famous spa image, “Jacuzzi, Calistoga Hot Springs, Ca.” She has a MFA from School of Art, and a MS from Newhouse School, Syracuse University and a BS in Journalism, West Virginia University. She was a professor of photography at Indiana University, Stockton College, New Jersey, Bournemouth College, England and Parsons School of Design. She lives and works at her studio in at the Chelsea Hotel, NYC.

Her websites: (Self-Portrayal)