Dancing with the Muse in Old Age: A Profile of Priscilla Long

by Alice Lowe

At 79, she proudly claims and defends the word “old.” Further, there are no such things as “senior moments”; we all, at any age, forget where we left our keys or glasses now and then. Continue reading →

GO FIGURE: Infinity and the Infinitesimal

By Susan Sechrist

“This is orthogonality at its core—going back to the beginning where new intersections are born, watching what unfolds from those unique moments of coming together, what curve or shape emerges and how those multiple shapes morph together.” Continue reading →

“I cared more about making the reader uncomfortable than happy… discomfort makes you question and think”: Q&A with Joanne Ramos

by Terry Hong

“The ideas of The Farm are ones that have obsessed me for decades…” Continue reading →

The Travails of This Family: A Q & A with Melanie Hobson

By Ericka Taylor

What I found interesting, in writing this book, was my growing awareness that these damaged people are nevertheless united by a strong sense of duty to one another, and that even within their difficult and often hurtful relationships, there is, at bottom, a real love for one another, something inviolable about family bonds. Continue reading →

GO FIGURE: Overthrown

By Susan Sechrist

…unlike the simplest mathematical hyperbola, with its matching twin curves riven and moving toward different infinities, these stories don’t reflect across an obvious boundary condition—there is no simple, congruent image on the other side… Continue reading →

GO FIGURE: Proof of Concept

By Susan Sechrist

The older we get, with maturity and wisdom, the more adventurous we can become. The segregation of complex ideas into distinct categories ceases to be useful or even necessary – what we once feared or needed some semblance of control over becomes the very source of our later-in-life creativity. Continue reading →

Q&A With Carola Dibbell

“I’d always felt frustrated by books that made things simpler than I’d found them to be. Even writing English papers as a college student, you’re supposed to sound like you know what you’re talking about. But so often I didn’t–I didn’t even know what I meant. But I knew that. So I began to explore language that expressed the groping way I thought, mixing uncertainty and mistakes with bursts of insight. I found that this was the way to just sound human.” Continue reading →