Girding Masatsugu Ono’s novel is what seems to be a single question: Does family (or community) exist without trauma?
Translated from German into English in 2015, Austrian author Marianne Fritz’s The Weight of Things presents domesticity and motherhood as intolerable, even unbearable, in the aftermath of the Second World War.
The ways in which Anne, the mercurial, earnest girl at the center of the story lived, learned, grew, and blundered her way through life resonated with me, a perennial outsider and dreamer, wounded by things that, like Anne’s cruel treatment at the hands of the Hammonds and the orphanage
In the brief back-cover description of Lauren Berry’s The Lifting Dress, we read: “Set in a feverish swamp town in Florida, The Lifting Dress enters the life of a teenage girl the day after she has been raped.”
Writers in Baltimore Schools, the creative writing organization I run for Baltimore youth, has developed a protocol for mobilizing safe spaces for writing after trauma. We were unfortunately ready when Donald Trump was elected the 45th President of the United States. On Thursday, fifteen of us gathered to write
Caldwell’s memoir is a deep exploration into how human and human-animal connections can heal us from traumatic experiences.
Perhaps I’d brought Heart of Darkness to court with me not as reading material but as a talisman, as a symbol of what I believe literature has the power to do.
1. I didn’t start writing lyric essays until I found out I had cancer. The melanoma buried in my right cheek was at first missed, and then misdiagnosed in its severity. Clark’s stage IV, they told me. Likely in my lymph nodes, but they wouldn’t know until my third
A few years ago at a conference, I read a section from my long poem “Sublimation” in which the speaker describes a miscarriage that, in its vicious pain and effusions, wakes her up in the middle of the night. After the reading, as I was mingling my way toward
The aftermath of war and displacement is often a diaspora, the literal scattering of a group’s seeds far from the tree of origins. However to call that wrenching of branches, as was discussed in Part I of this series (Mirrored Crisis: What Jeffrey Eugenides’s Middlesex can show us about today’s