I learned I am a Winona in a world made for Gwyneths. From the onset, Massey probes how society shapes or punishes women based on how we talk about or dismiss them. She writes with as much empathy about the women we mock as she does the women we
Recently, an interview that Barack Obama gave in 1995—which was republished in The New Yorker just before the Presidential Inauguration in 2009—made the rounds on social media again.
It’s often said that writers must be willing to be cruel to their characters, lest the story they tell lack drama or stakes. In “The Space of Things” (The Cossack Review), Jacinta Escudas (Translated by Samantha Memi) offers a different take on the cold realities of the writer/protagonist relationship.
Despite humanity’s ever-expanding realms of knowledge and increasing mastery over planet earth and its inhabitants, there is still so much beyond our grasp, so much of which we’re ignorant. In “The Storm” (Ninth Letter) by Maria Kuznetsova, a young narrator Sashie must reckon with a world that is becoming more
The autobiography of the imagination writes itself, one could say. It writes every time we write, every time we dream or daydream. It is its own captain’s log, the transaction and receipt. It reveals the self to make the self into a stranger, twisting the I to wring out
Not too long ago, as a writer who was based in India, once a colony of the British, and who had once been a “citizen of the world” living in the United States, I wondered, with apprehension, whether my stories would resonate with American and global readers and editors.
Reading is a cognitive experience and written language can elicit in the brain an array of sensory perceptions. A description of an apple pie once made me put the book down so I could bask in its warm smell. But what the brain does most readily is see. It’s
How does one apply the adage show don’t tell to the interior of the mind—a vast expanse one inhabits daily, but never sees? While Pixar’s Inside Out turns the subconscious into a playful and sometimes dark adventure, literature must rely on language—pacing, syntax, and form matching function. In the early
A life is divided into three parts: the time before you’re able to work, the time after you’re able to work, and the monstrous bulk of time between. After obedience to the law and some basic moral code, work is one of the great demands placed upon the able.
Katsushika Hokusai, contemporary of Goya and Turner and Ingres, artistic godfather of Monet and Van Gogh, was recently the subject of an exhibit at the Museum of Fine Arts here in Boston. He’s been on my mind ever since. Most of us know Hokusai’s artwork from the image above,