Why to Take Notes
Things Iowa Workshop Writers Say
Things Iowa Workshop Writers Say
AFFECTION FOR PLACE RUNS like a red thread through Rebecca Solnit’s work. Solnit is a writer without portfolio who has already produced histories...
The drifter, unfulfilled desire, misplaced guilt, a greed-ridden culture, street-level perspective — distilled into a coherent, kaleidoscopic whole.
Two risks I court are keeping the fourth wall permeable and sticking closely to recognizable, lived stories.
Richard’s amazing new memoir, House of Prayer No. 2, avoids the Old South clichés.
When it comes to trying to make a piece of fiction, scaling down is an essential strategy. The world has "scalability" in spades.
Desire and despair smolder fulvous, pungent and sulphuric in Gronk’s black and white.
Like her earlier works, Bad Marie is human, deeply-felt, delightfully well-honed, and though stylized, stops short of quirkiness for quirkiness’ sake.
Xiao's powerful memoir of his years at a forced labor camp is written in unflinching, unadorned prose that ably conveys the horrors he witnessed.
THE BOOK'S COVER looks like a child’s cartoon: a smiling bunny and a chipmunk, a boy in a boat on a pond, two bluebirds holding up a banner. Only the...
Aslan's collection makes clear that the Arab Spring of 2011 reflects a century spent grappling with a postcolonial search for identity.
I knew Toth — not all that well, but well enough to realize at a certain point that avoiding contact with him was a positive and healthy lifestyle.
Miller is a classicist; he loves the melodrama of the comics form.
If you spot in the financial crisis something of the epic, you are not mistaken.
Harrison Gray Otis: a biography in progress.
As it ticks away, "The Clock" taps into the enormous storehouse of images bouncing around in our heads.