My creative writing students want to talk about the business of literature. They want to talk cover letters, agents, MFA programs, fellowships.
Every time I pause in front of a stack of lit mags at my house, I find myself flipping through one for a morsel. Gimme something good. I find myself re-reading things I’ve already read and feeling surprised by them again and again, as if the magazine keeps
The literary community descended on Washington, DC last week for the Association of Writers & Writing Programs’ annual conference, and participants seized the opportunity to register their dissent with the current administration.
Since Chad Post, founding publisher of Open Letter Books, created The Three Percent blog in 2007, the term the “three percent” has become a household one to highlight the percentage of translated books published in the United States. A decade on, the blog has expanded to include a yearly
The scariest part of the proposed cuts to the National Endowment for the Arts and the National Endowment for the Humanities is that people seem to have accepted them already.
O’Malley is the Executive Director for the Independent Publishing Resource Center, a nonprofit arts organization in Portland, which she describes as a launchpad for artists, writers, and makers. One program that stands out is the IPRC Certificate Program, a yearlong study in creative writing, with four tracks, including prose, poetry, image and
From childhood, we’re taught to see ourselves as others see us. We learn to synthesize “Head, shoulders, knees and toes” into a whole through a complex process of self-identification. We see who and what we’re taught to see, a looping phenomena that means we’re literally made up of story.
There's never been a better time for poetry chapbooks, with hundreds of presses publishing excellent, innovative examples each year. This proliferation invites a closer look into the chapbook's history as a medium for more direct engagement and dialogue between writers and readers.
Since its integration into American culture at large, with the emergence of Robert E. Howard and H.P. Lovecraft and Hugo Gernsback, speculative fiction has always been willfully short-sighted in regards to race.
Founder and editor Sid Miller shares with Ploughshares readers the history behind Burnside Review Press, how he finds his authors, and what keeps the press and review going after ten plus years.