We are excited to announce that the Spring 2015 issue of Ploughshares, guest-edited by Neil Astley, is available for purchase! For the first time in our forty-four year history, we present a transatlantic issue focused entirely on poetry.
Acclaimed publisher and editor Neil Astley, founder of Bloodaxe Books, guest-edited this special issue, which features poets from North America, Great Britain, and Ireland. The issue contains a stirring diversity of work: the writers have roots everywhere from Guyana to Pakistan to Zambia, and have written in Welsh, Irish, and Scottish Gaelic. Much of the work is from accomplished British and Irish poets who are still little-known in the States. As Astley writes in his introduction, the issue aims to break down “the illogical divide between readerships on either side of the Atlantic,” and spark a conversation that will enliven and invigorate both poetic traditions. This issue features poetry by Fleur Adcock, Elaine Feinstein, Nick Flynn, Tony Hoagland, Michael Hofmann, Roddy Lumsden, Paul Muldoon, Roger Reeves, Ahren Warner, Matthew Zapruder, and almost a hundred other poets.
With this issue, we’re offering a couple of blog-only extras: Below, watch a selection of the poets read the poems they contributed to the issue. Next Wednesday, check back for a special extended version of Neil’s introduction to the issue!
If you would like to read our Spring 2015 issue, and you aren’t already a subscriber, subscribe to Ploughshares today! You’ll get great reads, ideas for your own writing, and the ability to submit your work to us for free!Continue Reading
I’m a little disappointed in Jennifer Weiner. And not in the way you’d think. Certainly not in the same way as Jonathan Franzen. Rather, I’m disappointed that she’s seemingly buying into the genre vs. literary distinction while she (admirably and very hilariously) defends herself on Twitter against Franzen’s latest attacks.
One of the things Weiner recently wrote that left me shaking my head (rather than giving her the applause many of her other comments inspired) was this: “And yet, I end up saying it. Over and over and over again. Every. Single. Time. I should just get an I’M NOT LITERARY tattoo!” To me, that kind of statement, regardless of whether she actually believes it (and I hope the Princeton grad and prolific, bestselling author doesn’t), indicates that she’s upholding the binary belief that genre fiction is somehow less than literary fiction. I, for one, am over the genre vs. literary fiction debate, especially because it so often coincides with the discussion of the issue of gender imbalance in the literary world.
That said, I am monstrously upset at Franzen’s mansplain-y criticism of Weiner’s talent and simultaneous admission that he hasn’t actually read any of her books. He also clearly hasn’t read any of her many intelligent essays championing women’s issues–not just in publishing, but in health, image, and beauty (see one in the New York Times as recent as the Sunday after the Franzen interview broke). The more I read up on the Booth Franzen interview and its aftermath, the more annoyed I get—especially since, on one level, Franzen actually agrees with what Weiner has been trying to say all along.Continue Reading
Sometimes memoirists can feel as if we have very few choices about our stories. Bound by truth and memory, we can often conclude there’s not much room for our creative selves to have a say. But here’s a secret—we don’t have to pin down a narrative in the order that events occurred. We can switch things around, pair things together, and work associationally. Isn’t that exciting?
The key to memoir is finding the right “slant” from which to tell your story, as Louis C.K. has found in the hit series based on his life, “Louie.” Using what I’d call an “episodic” structure, each installment revolves around some kind of narrative punch-line that’s funny, sad, troubling, insightful, or all of the above. By fashioning his life into episodic nuggets (much like memoirists Nick Flynn and Anne Lamott), Louis C.K. gives writers an example of how we might find a possible structure out of the mess of stories that make up our lives.
In fact, there are so many options for “memoiristic” structure, it can get overwhelming. So let’s consider a few of those choices to help you think anew about how your story might best be told.
In our Writing Lessons series, writing students will discuss lessons learned, epiphanies about craft, and the challenges of studying writing. This week, we hear from David Bersell, a recent graduate of the MFA program at the University of New Hampshire. David’s work has also appeared in Soundings Review, Volume 1 Brooklyn, The Good Men Project, and Carry On. You can follow him @DavidBersell. —Andrew Ladd, Blog Editor
After “Same Again” from Another Bullshit Night in Suck City by Nick Fynn.
What’s working? we say. Voice we say. Attitude. Wit. Image. Description. Physical description. We say killed me. Punched me in the face, then hugged me. Literally cried. Beautiful, I mean it. I’m jealous. I’m in love. I want to know more. Laughed so hard my stomach hurt. A jump. A step. We say genre. Memoir. Essay. Literary Journalism. Lyric. We say post genre. Collage. Montage. Braid. Quilt. I don’t know what it means, but I like the way it sounds. Gross, but not too gross. The goat. That lip ring. I hate him, but that’s a good thing. What if we didn’t know your background? Sorry, what if we didn’t know the writer’s background. It reminds me of something we say. Didion. Woolf. We say Fourth State of Matter. Like a song. A fairytale. A dream. We say what’s not working? We say I know it must be hard to write about. We say but. Maybe. Unbalanced. Undeveloped. Uneven. The title. The section titles. I don’t mean to sound mean. A moment I wasn’t sure what to do with. Too many trees. We say unearned. Twee. Ham-fisted. Beach read. Blockbuster. Racist? American clown. It begs a question we say. It made me work for it we say. Not in a good way we say. What’s another way to say it? Break it down. Structure. Square one. What’s the word? I don’t think I’m explaining myself correctly. A quest. A journey. A shift. A change. Unresolution is resolution. Everything is a choice. You can’t go wrong with a list. We say cut. We say rework. I know it’s not the way it happened but. Don’t apologize. Don’t try to write pretty sentences. Character we say. No villains. Love him like a friend. We say dialogue. Action, action, action. What if? Another way to take it. Add on. Or. And. Also. It’s a fine line. Wait, I changed my mind. Just an idea. An option. One last comment we say. Don’t fall in love with the semicolon. Publishable with revision. Six more hours. A few more days. Keep pushing. We say bar? We say happy hour. The cheaper the better. The waffle fries. Not the place that smells like feet. We say pitcher? We say what do you have on draft? That’s what I needed we say. Ahh we say. What did you think of class? What did she mean? What’s your revision plan? We say last writing question. Submission. Query. Elevator pitch. One more we say. Success we say. One day.
To submit your own essay to Writing Lessons, read our guidelines here.
In our Roundups segment, we’re looking back at all the great posts since the blog started in 2009. We explore posts from our archives as well as other top literary magazines and websites, centered on a certain theme to help you jump-start your week.
Summer is here, and it’s the perfect time for family picnics, family barbecues, family visits, family… Writers, needless to say, have a long history of being inspired by family in many glorious and terrible ways. Here are some insights to remember (and some families to compare to) when you find yourself sighing heavily at the umpteenth outing.
photo by Emily Zieg
I feel as if I were in a motion picture theater, the long arm of the light crossing the darkness and spinning my eyes, fixed on the screen.
—Delmore Schwartz, In Dreams Begin Responsibilities
There’s truth in patterns of nature that endlessly replicate, like the Fibonacci spiral, the syntax of language, the simple act of sexual reproduction. With so many recurring patterns in our world, only a lack of overlap, or coincidence, would be remarkable. The best overlap occurs when artists translate the invisible—pain, joy, loneliness—into a book or song or film. We take that art, superimpose it on ourselves, and suddenly it belongs to us.
Here is a scene: a girl, 16, lies on her bed, eyes closed, in a house alone. Music plays at an ear-splittingly high volume on her brother’s stereo. She gets up only when the needle scratches the center. When the song ends, she plays it again. When it ends, she plays it again.
A good question to spring on friends is this: at 16, what was your song—the one you listened to lying on your bed, eyes closed? The one you blasted when it came on the radio while you drove aimlessly through the night? It’s a knee-jerk kind of question—instantly everyone has an answer.
The Literary Boroughs series will explore little-known and well-known literary communities across the country and world and show that while literary culture can exist online without regard to geographic location, it also continues to thrive locally. Posts are by no means exhaustive and we encourage our readers to contribute in the comment section. The series will run on our blog from May 2012 until AWP13 in Boston. Please enjoy the fifty-fourth and final post on our hometown, Boston, Massachusetts, by the entire Ploughshares staff. Part One of this post will run today; Part Two will run later in the week; and, also later this week, look out for a bonus Boston Literary Borough walking tour by Emerson professor Megan Marshall. —Andrea Martucci, Ploughshares Managing Editor
When Boston was first settled back in the 1630s, it wasn’t much more than three hills on a tiny peninsula—Sentry Hill, Cotton Hill, and the charmingly (and aptly) named Mt. Whoredom. These three hills gave the city its original name, Trimountaine, but all that’s left of them these days is Sentry Hill (now Beacon Hill), and the street running along the east edge of the Common that takes its name from the original settlement’s: Tremont.
The other two hills, along the way, were leveled to make way for residential development, and to provide part of the landfill that now makes up the Back Bay. Indeed, thanks to aggressive land reclamation, by 1890 Boston had tripled in size. Walk down to the Charles Street edge of the Common and you’ll be standing on what was once the Boston waterfront; cross over to the Public Gardens and you’re being supported, in some small part, by the earth that was once Mt. Whoredom.Continue Reading
The Literary Boroughs series will explore little-known and well-known literary communities across the country and world and show that while literary culture can exist online without regard to geographic location, it also continues to thrive locally. The series will run on our blog from May 2012 until AWP13 in Boston. Please enjoy the fifth post on Brooklyn, New York by Melissa Sandor. -Andrea Martucci, Ploughshares Managing Editor
Come like a light in the white mackerel sky,
come like a daytime comet
with a long unnebulous train of words,
from Brooklyn, over the Brooklyn Bridge, on this fine morning,
please come flying.
– Elizabeth Bishop, “Invitation to Miss Marianna Moore”
Born and bred Brooklyn – U.S.A.
They call me Adam Yauch – but I’m M.C.A.
– Beastie Boys, “No Sleep ‘til Brooklyn”
With 2.5+ million residents, Brooklyn is New York City’s most populous borough. Larger than Philadelphia and almost as big as Chicago with 71 square miles in total and 30 miles of waterfront, Brooklyn is a city unto itself and one with a rich literary legacy. Frederick Law Olmstead, who designed both Central Park and Brooklyn’s Prospect Park, considered the latter to be his “masterpiece.” Today, the borough boasts more than 700 arts and cultural organizations and a multitude of events from the Brooklyn Academy of Music and Roulette to the home grown famed Brooklyn Flea, Coney Island’s annual Mermaid Parade, and open studio tours along Red Hook’s historic piers.
What the City is known for/what makes it unique: The “If you believe that, then I have a Bridge to sell you” started in Brooklyn with the 8th wonder of the world famously sold many times over – The Brooklyn Bridge; Junior’s Cheesecake, The Cyclone, “Da Bums” Brooklyn’s heartbreakers, the Dodgers, Nathan’s Famous, Saturday Night Fever, DiFara Pizza and we can’t forget the world famous accent… fuggedaboutit!
A Sampling of resident literati (…easier to compile a list of writers who don’t live in Brooklyn.)
Two winters ago, brand-new to the creative writing community of Madison, Wisconsin, I was at ground zero of the national debate on union rights, caught in a throng of 70,000 protestors marching around the State Capitol, screaming “Whose Streets? Our Streets!,” “This Is What Democracy Looks Like!,” and “It’s Not About The Money, It’s About The Rights!” while a choir of scarved-and-mittened “radical grannies” belted “We Shall Overcome” through a PA system on the Capitol lawn, and the Reverend Jesse Jackson milled about, waiting for his time on the microphone.
Join guest editor Nick Flynn and fifteen contributors to the Spring 2012 issue of Ploughshares as they read from their writing and celebrate the new issue! The event is free and open to the public, plus the first ten guests get a free copy of the issue.
WHEN: Tuesday, May 22nd, from 7:00 p.m. to 9:00 p.m.
WHERE: The Woods
48 South 4th Street (between Kent and Wythe)
Williamsburg, Brooklyn 11211
SUBWAY: L Train to Bedford Ave
Nick Flynn will host the event, and there will be readings by Mary Morris, Maria Venegas, Eric Fair, Kelle Groom, Melissa Sandor, Danielle Blau, Patricia Caspers, Michael Dumanis, Monica Ferrell, Michael Klein, Eileen Myles, Gregory Pardlo, James Tolan, Suzanne Wise, and Ronnie Yates.
Many thanks to Maria Venegas and Melissa Sandor for organizing the event. We hope to see you there!
The Woods, via Plate of the Day