March/April 2012 Cover Image

Cather's World & the Future of Narrative

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Douglas Bauer
Only now that the class has ended have I begun to recognize a curious contradiction between my students' appreciation for Cather's splendid, multi-purpose landscapes and the habits these same students bring to their moment-to-moment lives.
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A Conversation with Biographer Penelope Niven

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Sheryl Monks
Challenges probably come down to the fact that it truly is an act of audacity, at one level, to write a biography, to endeavor to write about someone else's life.
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The Geography of Sentences

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Emily Brisse
It's no wonder that a garbled sentence feels ungainly and confusing to a reader. Reading it would be something like a child navigating her way through a dense forest...
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The Postmodern Memoir

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Hugh Ryan
As the children raised in this chaotic literary moment begin to write their memoirs, it is not surprising that they are looking to recreate this sense of confusion.

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A Sexy New Animal: The DNA of the Prose Poem

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Natasha Sajé
He had been writing a prose poem, and had succeeded in mating a giraffe with an elephant. Scientists from all over the world came to see the product: The body looked like an elephant's, but it had the neck of a giraffe with a small elephant's head and a short trunk that wiggled like a wet noodle.
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The Periodic Table of Poetic Elements

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Jeffrey Skinner
The Periodic Table (graphic)
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An Interview with Paul Harding

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Varley O'Connor
I find that I have a natural inclination for pushing the boundaries between poetry and prose. Or maybe more exactly, I deliberately reject boundaries because I think of them as largely theoretical, as demarcations, which, if they must be assigned to works of art, should be assigned subsequent to their creations.
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