By Athena Kildegaard
She’s a Southerner with a Midwestern sensibility who loves the strange: she’s part Flannery O’Connor, part Sherwood Anderson, part Charles Simic. Continue reading
By Athena Kildegaard
She’s a Southerner with a Midwestern sensibility who loves the strange: she’s part Flannery O’Connor, part Sherwood Anderson, part Charles Simic. Continue reading
by Juhi Singhal Karan
Is a graphic novel a piece of art or does it belong to the realm of literature? Or it is something else entirely? . . . This month we bring to you five bloomers who choose to tell their stories through this particular medium. Continue reading
by Dena Santoro
In a May 1956 interview, Varda said about the film, “I had no idea what cinema was when I wrote it.”
by Jessica Levine
Because I wanted to write novels and knew that writers draw on their memories, the idea of not remembering years of one’s life, the major as well as the minor events, terrified me—an enormous loss not only of experience but also of creative raw material. Continue reading
I believe that intentions matter. They matter in life and they matter in writing fiction. If you sincerely want to explore the humanity of a character who happens to be of a different race, that sincerity will shine through. Readers are so awesomely smart. Continue reading
by Nicki Leone
We tend to think of creation stories as tales of beginnings, how we came to be what we are. They exist in the distant and untouchable past, a memory that has lost its distinction and details over the ages. But myths do not really operate this way. Nor, for that matter, do stories. Continue reading
by Edward Porter
This democracy of narrative importance makes The Known World a favorite in the academy . . . [W]hat’s more, the novel’s egalitarian agenda extends to the worst of its characters as well as the best—it levels in both directions. Continue reading