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
Lilly Dancyger’s just-released mixed media memoir is a story of two artists, forever separated, and the history and symbols that provide an artistic shorthand able to move past the boundaries of shared experiences and meet again.
What is interesting about trauma narratives, despite their abundance, is how writers shape them, allowing their stories to transcend the act of recounting.
As I’ve read more Buddhist biographies and memoirs, I’ve begun to notice how women seeking spiritual meaning have been forced to endure the added burden of their gender.
Multigenerational narratives have become a natural route for Armenian diaspora writers; whereas, the average American consumer can likely approach stories about the Holocaust or Civil War with some prior knowledge, the Armenian genocide requires more grounding, both factual and emotional.
Leslie Harrison’s poems are meditative and thoughtful, yet fleet-footed, quick to change direction. They show us a mind in motion, questing and questioning, wrestling with complex feelings and ideas.
On the day I wrote this post, the Columbus Dispatch ran an oversized black and white banner above the fold reading: “Start Living Pain-Free Today.” We see messages like this every day in TV commercials, ads, and across the web, don’t we? Sonya Huber, however, makes the subject of
The Sports Memoir: Choose Your Own Adventure There’s something inherently cathartic about the process of writing a literary memoir. The events within have occurred too close to the writer’s heart for the writing to be handed over to anybody else—all of the interpretation and re-imagining of events is intimate
First, a confession: I’m lousy at prioritizing fiction writing. I let everything else in my life take precedence. I even let other writing take precedence—articles, book reviews, syllabi, comments on student work, status updates, replies to all. And yet, good things have happened to the fiction I’ve written. I
“When John le Carré died in December, I was drawn to revisit his 1974 espionage masterpiece. Its plotting was just as crystalline as I’d remembered, yet its enduring power didn’t lie, I realized, in its structure or entertainment value, but in the lucidity of its politics and moral investments.”