Inside the craft-obsessed, time-warped fiction workshop where literary realism has reigned supreme forever, the Show-Don’t-Tell maxim serves an important function in critique.
Eileen Myles is a poet, novelist, performer and art journalist who ran a write-in candidacy for president twenty-five years ago when the bulk of our presidential candidates were straight, white, male, and wealthy. But you wouldn’t know any of this from their Instagram page, where their bio reads, simply, “poet.”
Octavia Butler’s short story “Amnesty” is a tale in which an invasive species, called Communities, occupies desert areas on Earth and tests, uses, hires, and even “enfolds” (a sort of cocoon-like cuddle) humans for comfort and resources.
Monica Youn’s poems are precise, sharp-edged and fleet-footed; they always seem to be moving in three different directions at once. She is the author of three books of poems: Blackacre, Barter, and Ignatz, and her poems have appeared in numerous journals and anthologies. A former attorney, she now teaches at Princeton and in the MFA program at Warren Wilson. We caught up via email at the start of the new year to talk about the similarities between poets and lawyers, her latest book, and what might be her next one.
Erin Wunker teaches and researches in the fields of Canadian literature and culture. She is chair of the board of Canadian Women in the Literary Arts (CWILA) and co-founder and managing editor of the feminist academic blog Hook & Eye: Fast Feminism, Slow Academe.
Claire Vaye Watkins, author of the celebrated collection Battleborn and widely acclaimed novel Gold Fame Citrus, talks with me about writing and living the West, conservation and resistance and optimism in the world of Trump, and faith in the “California experiment.”
Many of us will need to cope with, resist, or try to understand (or all of the above) Trump in 2017. So, below are 12 books—one per month—that can help with those unexpected projects.
Brit Bennett talked with me about her new novel “The Mothers,” and about the power of place–writing in the West through many communities–“performing California-ness,” the weird excitement for wildfire season, forever building piers into the ocean, and In-N-Out burger.
Bodies in literature always bear the first marks of difference. What isn’t recognized as “normal” (meaning, not perceived as male, cis, straight, white), always verges on the monstrous, to be rejected or feared, or at the very least cloaked in mystery.
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