The epistolary toolkit is a rich and varied one—it insists on the reader’s interpretive participation, and offers powerful methods for developing character and setting and for playing with the progression of time. So: what, supposedly, is wrong with it?
Summer Assistant Editor Rome Hernández Morgan explores the ways poets can learn from the craft of fiction.
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.”
What can romance teach us about the space between “improbable” and “impossible”?
How do we choose a poem’s final, resounding lines?
Working across genres can be intimidating for those who write and publish in mostly one genre. Cindy Juyoung Ok, SJ Sindu, Philip Metres, and Kathryn Nuernberger share insights.
What draws us, as writers, to museums, exhibits, and galleries? What is it about these spaces—real or imagined—that makes us curators in our own work?
Titling is sometimes the easiest, sometimes the hardest part of crafting a poem—a process that seems shrouded in both mystery and luck. Five poets share their perspectives.
“I’m not going to talk about ways to succeed in poetry—not how to craft a perfect line or please your reader or even excite the staff at a literary journal. Instead, I’m going to briefly talk about a poetics of failure.”
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