In Patty Yumi Cottrell's novel Sorry to Disrupt the Peace, the narrator Helen Moran investigates her adopted brother's suicide, an effort complicated by Helen's own profound alienation. Relentlessly interior, discursive and associative, the novel reads as the direct outcome of Helen's grief, an inner crisis she attempts to control
Indeed, the theme of moving on—but not necessarily past—tragedy is her central message here.
All of my attempted love poems sound like elegies, and so I’ve given up trying to write them for my beloved, lest I give the wrong impression. Occasionally, however, one will come to me like a windfall, a speck of gold in the pan.
What do we do after something terrible happens? Is there any way to find hope in a world gone dark?
Caldwell’s memoir is a deep exploration into how human and human-animal connections can heal us from traumatic experiences.
Despite the foothold grief retains in our lives at large, its portrayals in our art are often one-size-fits-all. It isn’t simply a question of what is appropriate to grieve—the world provides no shortage of reasons for that—but whether on the television, over Facebook, or, most perplexingly, within literary fiction,
Last week my friend’s mother died, with brutal speed, of cancer. Ten years ago, my father died of a neurological disease so drawn out and cruel that we all wished for its end. Parents die, usually before their children, and so both of these deaths were inevitable in one
I first heard Wendy Mnookin read her work during AWP, and later I discovered our odd, unfortunate commonality: Both of our fathers were killed in car accidents. The circumstances differ greatly, but the impulse to write about death, to look at it from every direction, is the same, so