To write about Robert Walser when considering the unsung modernists of the 20th century seems both a falsehood and a complete necessity.
We are a world awash with conspiracy theories, but what resides in the hearts of those behind the actual conspiracies? In her flash fiction piece, “Wind on the Moon,” Katie Burgess explores the internal struggle of a governmental doctor of spin.
Perhaps I’d brought Heart of Darkness to court with me not as reading material but as a talisman, as a symbol of what I believe literature has the power to do.
In the dark, being told stories carries weight. There’s a power there, for some stories, that doesn’t seem to exist during the day. When I was a child, my family would take daytrips in the car and when we drove home it would be night. My mom would turn
Through the detritus of the Qaddafi regime's collapse, Matar digs with a singular purpose: to return to his homeland and find any answers to the ultimate fate of his father.
Parker takes the profile beyond the person being profiled, canvassing the phenomenon by which a single dismissive adjective from a single man can cut down an empire, at least for a while.
Peter Ho Davies is the author of two collections, The Ugliest House in the World and Equal Love, and the novel The Welsh Girl. His new novel, The Fortunes, is out this month.
Sometimes, place is an obvious theme or motif in a work, while other times it informs a work in a subtler but still necessary way.
We came for a writing residency called Till. Unlike conferences like Breadloaf or residencies like the Fine Arts Work Center or the Millay Colony, Till is short—just a long weekend of workshops, uninterrupted writing time (with no cell phone signal), and drinking wine around bonfires.
The first thing we had to do was exchange our sharpened pencils for a thick piece of charcoal. We were instructed not to hold the charcoal too tightly. A pose would often last as little as five seconds, but we were expected to capture the whole thing.