Though Tillie Olsen published very little in her lifetime, her body of work had a great impact on the women’s movement of the 1960s and ‘70s. She was a champion of underrepresented writers. Olsen’s book, SILENCES, became a classic feminist text, and her works of fiction were met with
When I started my Google search with the words “physics and poetry” I did so with some reluctance, knowing that each time I clicked on a headline or hit the return key I was willfully handing over hours of time to the trailings of one of my recent curiosities.
I first found CD Wright’s poem “The Obscure Lives of Poets” back in February, and was afraid to get too close, as though examining it might blind me, or worse, put out the fire.
I see the aphorism as a flag the poem is waving, a point of contact, or discovery, that exists only in relation to the space around it: poem, aphorism, more poem, then reaching into blank space. When an aphorism stands alone, there’s no more poem around it, just the
Most people get lost accidentally, a few get lost by necessity. There is hardly a story more compelling to me than the latter—that of the individual so primordially unsatisfied with civilization that wilderness is their only consolation.
The required reading for the entering undergraduate class the year I enrolled was Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong, by James W. Loewen. I didn’t read it.
I started farming the year after I completed my MFA, and in the six years since I’ve been trying to figure out how anyone could possibly be a writer and a farmer at the same time.
At a poetry workshop recently I heard the word metaphysical used to describe several contemporary American poets of disparate temperaments. At times metaphysical sounded erudite, at times dismissive, and I wasn’t sure I wanted it near poems and poets I loved.