Claudia Rankine Archive
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.
The subway has always been the great equalizer of New York City: it’s how the 99% of us get around. The best people-watching happens here, and the city’s art and culture scene extends deep underground.
How to talk about violence in literature, when the term violence is so broad? “Violence” is defined as “behavior involving physical force intended to hurt, damage, or kill someone or something,” but it’s also used to depict the “strength of emotion or an unpleasant or destructive natural force.” How to
According to Wikipedia, a keystone is “used figuratively to refer to a central element of a larger structure […] that locks the other elements in place and allows the whole to be self-supporting.” With a stone archway, the form is inherent, or predetermined. First, there is the abutment, then
Talking, or writing, about endings is hard—whether it’s the end of a marriage, the end of a life, or the end of a book (lest one spoil the conclusion). Life rarely offers sudden and definitive endings or epiphanic conclusions. Rather, events leading up to the end seem to be
In her most recent book, Dandarians (Milkweed, 2014), Lee Ann Roripaugh writes in the borderland between poetry and prose, blurring boundaries and finding the unfamiliar music in everyday language. She is also the author of three previous books of poetry, including Year of the Snake, which won the Association
Craft talks regarding omission lean heavily on Hemingway’s Iceberg Theory, what John McPhee recently called, “or, how to fashion critical theory from one of the world’s most venerable clichés.” Aside from the obvious trimming of superfluous language or gratuitous scenes, it could be argued that omission, in one extreme,
Used poorly, second-person reads like a trope; used well, second-person as a narrative device adds inclusivity to literature, raises questions of authorship, and helps an author communicate politically-charged topics like globalization, race, and gender. Mohsin Hamid utilizes second-person in his novel, How to Get Filthy Rich in Rising Asia,
Our congratulations to the following Ploughshares writers who work has been selected for these anthologies: Best Stories: Jamie Quatro’s story “Sinkhole,” from the Spring 2012 issue edited by Nick Flynn, will appear in O. Henry Prize Stories 2013, selected by a prize jury of Lauren Groff, Edith Pearlman, and
My girlfriend’s ex-girlfriend recently sent me a link to an article entitled “8 New Punctuation Marks We Desperately Need.” As is often the case with my girlfriend’s ex-girlfriend, I couldn’t quite tell if she was joking. Further complicating the matter was the fact that the article came from CollegeHumor.com, a decidedly