Blog

What makes second-person narration so compelling? What makes it so polarizing? In this essay, Jen Michalski reflects on the magnetic pull of “you.”

We reflect on Elliston Poet-in-Residence Brian Teare’s vivid call for “poetry as fieldwork.”

In her debut poetry collection, Courtney Faye Taylor underscores the importance of more honest witnessing, of a history that includes all the moving parts, including ourselves.

From agent trouble to 18-hour minimum-wage jobs, Bess Winter and Brenda Peynado know the difficulties of the writer’s life. Over email, they talked to CR about how they reframed the conversation and reclaimed the joy of the craft.

To kick off the Robert and Adele Schiff Fiction Festival, we talked to authors Gwen Kirby and Liv Stratman about developing an artistic sense of purpose

We revisit Sharon Kunde’s haunting, wrecked landscape with its trains, silos, and blurring speed.

Claire Denson reads her poem “Hibernation” from our Issue 19.2.

One season my stomach shrankfrom staying in bed for monthsso hungry. When bears hibernate, their bodies recycle to stayalive: reabsorbing urine, feces,like a dream each night. In those winter days,my stronger self recededinto that hole we all fear. Dirt from every angle. No onethinks so, but bears do wakein that shadowed cave, shifting to ward …

As part of our series From Our Contributors, Katie Berta explains the background behind her poem “[To be a child again.]”

An interview with our Issue 19.1 artist, Galina Shevchenko.