Critical Essays Archive
When I read this passage at fifteen years old, I was furious. I thought this ending, which centered the boys’ narrative over the girls’, undermined everything that came before. I felt dissatisfied, like I had been cheated out of a proper ending. But that frustration was ultimately very productive.
If Bishop’s "One Art" shows a clear tightening and precision and a shedding of awkwardness into maturity, Swenson’s drafts show us that sometimes an artist simply makes a choice to fit a particular aesthetic preference or vision.
The aftermath of disaster is difficult to measure. The answer changes depending on your metric of loss: number of deaths, houses destroyed, families displaced. Some measures go beyond numbers. You can’t graph grief, hope, trauma, or what it took to survive. But you can collect them in poetry.
The first literary interviews I remember reading were those conducted by my undergraduate poetry professor, a white man of a certain age. They were compiled in a collection published by a university press in 1983. White men were asking most of the questions, and white men were answering.
The view camera creates a particular kind of image through extreme pause and meticulous composition; by writing about a view camera, McPhee creates a particular kind of essay, one that uses the techniques of both view camera photography and narrative.
Writers squeeze writing in between their full-time work, even if they don’t talk about it. Journalist and TV anchor Jake Tapper did just that in writing his political thriller, which he wrote sometimes in intervals of only fifteen minutes at a time.
Provence is one of these regions, like Bordeaux and the Atlantic seaboard, that have always had a strong connection to Anglophone cultures, starting in the seventeenth century when the court of the House of Stuart went into exile in Avignon.
The world of Ava Gallanter, the protagonist of Iris Martin Cohen’s debut novel, is very small. It consists of the library, hallways, and apartments of the Lazarus Club, a prestigious private members club where she works as a librarian. It is the world of Dead White Men.
Hamilton’s reconstruction of Athenian tragedy, Americanized to focus on individual “poetically transmuted pain,” appealed to Robert F. Kennedy.
Girding Masatsugu Ono’s novel is what seems to be a single question: Does family (or community) exist without trauma?