I WAS 20 YEARS old, applying to Johns Hopkins graduate Writing Seminars from a small Midwestern college. I had come to campus to meet Elliott Coleman, the director and founder of the program. He had read my application and invited me to lunch at the Faculty Club. Looking back now and understanding the processes of application and the competition for a position in the Writing Seminars, I realize how remarkable his attention was, but he showed that kind of attention to students, making each feel important and valued.
I had sought out his work before I came to Baltimore. I no longer remember how I found the slim volumes of poetry in my remote college town before online ordering, but I did, and I had read his book of poems, Mockingbirds at Fort McHenry. When I spoke about those poems, he was genuinely humbled and surprised that I had made the effort to read his books.
He asked, “Would you like to go see Fort McHenry?” That afternoon, the student showing me around drove us all out to Fort McHenry, and I walked around the area with Elliott Coleman as he talked about poetry and the genesis of his poems. I’m sorry I didn’t write down what he said, or if I did, I can no longer find the notes of that afternoon. But I knew then that Hopkins was where I wanted to be if I had the chance, and even though I was a fiction writer, I wanted to study with Elliott Coleman. Fortunately, I got that opportunity.
Elliott Coleman radiated a gentleness, a caring and a humility that shed light, illumining those around him. He didn’t seek the center of attention; he didn’t draw the spotlight to himself, rather he shined so that light fell on others.
From Mockingbirds at Fort McHenry:
Through a window in Tunis the green sea rolls its light. A few square white houses dazzle the Atlas mountains, the color of lions and honey. This foothill is hardly Africa; this bay is hardly Mediterranean. They partake of each other by reflection, absorbed as they are in the depths of space.
Joanne Leedom-Ackerman is a novelist, short story writer and journalist whose works of fiction include The Dark Path to the River and No Marble Angels. A former reporter for the Christian Science Monitor, she is a Vice President of International PEN, former International Secretrary of International PEN, and board member of PEN American Center, the PEN/Faulkner Foundation and Poets and Writers.
This essay is part of
of work by and about Elliott Coleman.