Ling Ma brings post-apocalyptic zombie fiction, the Asian-American immigrant narrative, and anti-capitalist office satire together in her debut novel in which capitalism is—literally—a disease.
In her essay “Place in Fiction,” originally delivered as a lecture at Duke in 1955, Eudora Welty almost immediately positions place as an antidote to broad generalizations about human experience.
There’s no such thing as a singular “poetic tradition.” To suggest otherwise is horrendously erasive of the myriad poetic traditions, many of them oral, belonging to the world’s diverse cultures.
What is new and what is vestigial? What trauma is passed down and what trauma can be left behind? While some might consider Texas a kind of photo negative of the former East Germany, I think of those two states as simulacrum in many ways.
Recent works by Sarah Perry, Michelle Zauner, and Sara Nović demonstrate how, with time, they were able to take their pain and paralysis and forge something beautiful.
Le Guin’s “The Ones Who Walk Away from Omelas” ultimately seems to at once embody and expose the limits of utopian thinking.
Anne Boyer’s collection of essays, fables and manifestos collected from over a decade of her work, serve as both a scathing critique of and a brilliant testament to daily existence under the physical realities of oppressive structures.
Poetry, Polish poet Wisława Szymborska contends, is the operative exercise of not knowing.
As is painting, so is poetry: the connection between the two cannot be denied, but its nature and significance have been heavily debated. Is poetry a verbal painting? Is painting silent poetry?
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