About Myrna

Meet Myrna Stone...

 
 

Myrna Stone is the author of five full-length books of poetry:

She is the recipient of three Ohio Arts Council Individual Excellence Awards in Poetry, a Full Fellowship to Vermont Studio Center, a Distinguished Entry Award in the Campbell Corner 2004 Poetry Contest for which she received a stipend and an invitation to read at Poets House in New York City, and the 2002 Poetry Award from Weber, The Contemporary West. More recently, for a new poem entitled “The Resurrectionist’s Diary,” she was awarded the 2017 New Letters Prize in Poetry.

In 2015 Stone presented five morning lectures on Poetry as a member of the faculty of the Antioch Writers’ Workshop.

Her poems have been featured on Poetry Daily, Verse DailyEvery Day Poems, and Every Writer, and have appeared in over fifty journals, including Poetry, Ploughshares, Boston Review, TriQuarterly, The Massachusetts Review, Nimrod, River Styx, Southwest Review, and Boulevard.

Her work has also appeared in nine anthologies, including Flora Poetica: The Chatto Book of Botanical Verse; I Have My Own Song For It: Modern Poems of Ohio; and Beloved on the Earth: 150 Poems of Grief and Gratitude, and has also been nominated for a Pushcart Prize.

A founding member of The Greenville Poets, based in Greenville, Ohio, Stone lives with her husband in an 18th century farmhouse they moved from Rhode Island.

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Myrna Stone... is emerging as a powerful new voice in contemporary poetry. She reveals a vast, rich vocabulary and... a fluent command of various forms, from the sonnet to the triolet to the sestina.
— David Lee Garrison, from his review of The Casanova Chronicles
The poet’s capacious vocabulary, sensitivity to the etymological implications of her word choices, ear for phonemic subtleties and hunger for verbal precision, apparent everywhere, give her unique access to the overlap of world and word that we are so often told is merely linguistic illusion. But for Stone, like Keats, the truth is proved ‘upon the pulse,’ and her truths, in their syntactical rhythms and syllabic music, are proven through a rhetoric of pulsations.
— B. H. Fairchild, from his Introduction to How Else to Love the World