Talking, or writing, about endings is hard—whether it’s the end of a marriage, the end of a life, or the end of a book (lest one spoil the conclusion). Life rarely offers sudden and definitive endings or epiphanic conclusions. Rather, events leading up to the end seem to be
In 1986, at the age of twenty, without saying goodbye to anybody (and ignoring the Tao’s declaration that, “the truly kind leave no one”), Knight entered the woods of central Maine and never looked back.
Ervick’s un-biography gives us a historical tale that translates into a contemporary one: how women can take possession of their fates, write their stories as they see fit, even when living under the iron fist of societal pressures or men afraid of female power.
You have probably come across Michele Morano’s essay collection, Grammar Lessons: Translating a Life in Spain, at nonfiction conferences with presenters hailing it as an exemplary form of nonfiction. One of its essays, “The Queimada,” has been published in many anthologies. This contemporary classic illustrates the heights of the
Today’s nonfiction writers have at hand a number of forms other than the essay and the memoir. There’s the flash essay, of course, and literary journalism. Then there’s the catch-all form of nonfiction known as the lyric essay. So, what do they all mean?
A collection of essays, Almost Home is a wonderland of hybrid techniques. It contains post-colonial insight that goes beyond India and keeps readers coming back for more—more labyrinthine story lines, more social commentary, more pro-woman eroticism.
Nature writing may not be everyone’s cup of tea, but add some cinema and cultural intrigue and you’ve got some evocative reading. Such is the case with Trudy Dittmar’s Fauna and Flora, Earth and Sky: Brushes with Nature’s Wisdom, a collection of essays from University of Iowa Press.
On the flight back to Istanbul, I hold one of the first books put out by Istos Publishing in my hands. Out of the press’s slim, silver-colored bilingual Greek-Turkish edition of Nikos Kazantzakis’s The Ascetic (Ασκητική-Çileci), the publishing house’s logo pops out in gold, almost holographic. I turn the
“I want to tell you what happened on the way to dinner.” Christopher Castellani‘s The Art of Perspective: Who Tells the Story begins with that simple phrase, the driving force of storytelling: the author has something they want to convey. Which quickly leads us to the issue of how
Last year, I interviewed Pam Houston about her novel Contents May Have Shifted and the fine line between fact and fiction. “Well, I don’t think of it as a fine line,” she wrote to me in an email. My task as a writer has always been to take the