Adrienne Rich Archive
In watching birds, I understand Adrienne Rich’s idea of triangulation through poetry, science, and politics. Someone thousands of miles across the globe must also value, give voice to, and protect the homes of my most familiar backyard birds.
Sharply written, these intimate and insightful exchanges dispel the myth that perhaps we all, writers or not, have come to believe about our own narratives, our own lives: “The worst story that we can tell ourselves is that we are alone.”
November has been a heavy month. The results of the U.S. elections came in; Leonard Cohen passed away; and on Sunday 13th, France commemorated the 1-year anniversary of the Paris attacks.
If the question is whether most Americans are reading poetry, the answer is—I won’t sugarcoat it or fudge the numbers—“no.” My mother doesn’t read poetry, unless it’s mine. Does yours?
I conducted short interviews with a group of hotshot poets, scholars, and critics to help out. I invited them to nominate an American poem they think is underrated—a poem they wish more people loved and taught, a poem that might be for many an unknown unknown.
Catechism: A Love Story is not a romantic tale. It’s the story of the bride who ran away and the future bride who helped her. Author Julie Marie Wade, Lambda Literary Award winner for her memoir Without: Poems, doesn’t romanticize about finding love in this book-length lyric essay.
Some part of me broke last Sunday. I kept scrolling this week through the news articles that listed the victims of the Orlando massacre, the pain in my heart growing with each name. It seems we’re being denied time and space to mourn.
Early last month, PEN International publicly condemned the killing of Thai poet Mainueng K. Kunthee. The poet had been shot to death on April 23rd, presumably because of his public criticisms of the monarchy and Thailand’s lèse majesté law. Known as a poet of the people, Kunthee was immensely popular; his work “spoke of social justice,
Hello again, Writers. So I was driving to New York City a few weeks ago for a conference at NYU, where I talked about the ways story and song benefit public discourse. To say I’d been obsessing over the political impact of storytelling would be an understatement. So maybe it’s no surprise that
Christy Burch didn’t think she was a writer. This was before she worked with rape crisis centers and with the Kentucky Domestic Violence Association (KDVA), working with advocates statewide to support victims of violence. While in these roles, she was instrumental in the release and pardon of thirteen incarcerated, battered women. She