Judy Sandler and Rachel Weaver in discussion about what it means to write about the body.
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“I’m just trying to be a vaudevillian most of the time, trying to surprise you or make you laugh. And then in the process of trying to do that, sometimes you go, ‘Oh, this story is actually about something kind of deep.’”
Happiness, marginalia, and pink stationery. Greg Barnhisel interviews Amanda Golden and Karen V. Kukil on The Poems of Sylvia Plath, a definitive collection of one of America’s most significant poets.
“Flick She sees gardening and cooking as creative acts—all kinds of processes and improvisations and experimentation going on there.”
“’I thought I was completely done with this world,’ she said. So much so that she went on to write two other novels – ones that had nothing to do with toxic female friendship, MFA programs, or rabbits.”
With Taipei Story, the bestselling author turns from empires and academia to the more intimate terrain of language, family and the diasporic fantasy of going home.
“You know, I paid off my house. I did a bunch of stuff that makes me able to write the weird stories I want to write. I can be in my weird band and write my weird stories, in… my little sandbox. I can do my little thing.”
An Interview with Dani Janae about What Poetry Can Say
“I think there is this desire to turn away and not deal, and yet there’s power in witnessing and pushing that shame onto the perpetrators instead of onto these young women who have had to deal with this as shame in their life for decades.”
“In reading ‘Hope House,’ I felt like these young people re-entered my classroom. Re-entered my cerebrum. That I was, once again, privileged to be reminded of our collective messiness, and our collective beauty.”
