Works by Richard Powers and Paul Harding use innovative structures to communicate the messages at their heart.
How does one apply the adage show don’t tell to the interior of the mind—a vast expanse one inhabits daily, but never sees? While Pixar’s Inside Out turns the subconscious into a playful and sometimes dark adventure, literature must rely on language—pacing, syntax, and form matching function. In the early
Emotions, feelings, desires—whatever you choose to call them—are central to writing. e.e. cummings wrote “since feeling is first / who pays any attention / to the syntax of things / will never wholly kiss you.” But how do we pay attention to syntax while retaining feeling? There are countless