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.
The Neighborhood Story Project (NSP) began in New Orleans in 2004 when Abram Himelstein and Rachel Breunlin started meeting with high school students at John Mcdonogh Senior High. Rachel and Abram worked with six writers over the course of one school year to help them create books about
In 1971, BkMk Press was founded by Dan Jaffe, English professor at the University of Missouri-Kansas City, and Roy Fox, head librarian of the Johnson County Library system in Kansas.
Like any literary form or rule, the poetry reading raises questions regarding subjectivity and context: whose conventions are these, what do they enable, and how do they suit the projects at hand?
In graduate school, I worked on the staff of two different literary journals. I was new to the writing world and the idea of working behinds the scenes on a journal—the very kind of journal that I hoped to be published in—was thrilling.