Arthur Clarke’s Childhood’s End establishes the amateur astronomer as a major name in the last days of the golden age of science fiction. Clarke is “equally at home in the outer galaxies and the troubled psyche of modern man,” states a review in the New York Times.
Like it or not, MFAs, as programs that aim at the professionalization of writing, have always been the vehicle of cultural imperialism; the propensity to remove “ideology” from writing in order to improve the latter is thus basic hypocrisy.
The scenes in my fiction that worry me the most, that I go over and over and that cause me no end of doubt, are the big, emotional moments. Falling in love. Getting dumped. The death of a loved one.
“The Yellow Wallpaper” was published in 1892 by Charlotte Perkins Gilman and remains a staple of early feminist fiction. In 1983, Doris Lessing responded to Perkins Gilman’s classic story with “To Room Nineteen,” in part to point out how little had changed in the lives of women.
In The Blazing World, Harriet Burden is a widowed sixty-something artist whose work languished in relative obscurity until she recruits three men to claim her work as their own, which fundamentally changes the reception of the art, and possibly even the art itself.
When I first encountered Jacob Wren and his work, it was in the mid-1990s, back when he was a Toronto poet known as Death Waits. Now, as co-artistic director of PME-ART, he exists as a constantly moving target, exploring performance through collaboration, text, and multiple other means.
For Frank Exit, a man tasked with recovering the kidnapped children of a Japanese diplomat, gone are the days of a simple ransom request for money or a getaway vehicle.
Woman Hollering Creek and Other Stories asks us to imagine literary regionalism as more than just literature set in a single place, but as fiction’s ability to funnel different places and the experiences they birth into one environment.
The smartphone wasn’t specifically prophesized by either Aldous Huxley in Brave New World or George Orwell in 1984, but the device is a manifestation of the dark vision both men had for how human beings relate to one another.
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