Nonfiction

On Mark Conway

My recommending Mark Conway to the Emerging Writer’s issue is a bit of a farce, mostly because Mr. Conway was recommended to me first—by virtually everyone who has ever read his poetry. I first encountered Mr. Conway at the M.F.A. program at Bennington College, when rumor of his talent was whispered by an enthusiastic chorus…

On Pireeni Sundaralingam

Pireeni Sundaralingan depicts a straightforward urgency in everything she writes. She is from Sri Lanka, and her poetry captures elements of that country’s ethnic violence and cultural tensions. However, a credit to her and her poetry, she strives for a language that embraces a sober beauty through precision. Maybe the directness in her voice has…

On Allison Benis

Ms. Benis has the gifted ability to relay intensity through quiet, subtle language. I am impressed also by her direct, insightful statements which keep the poems tense and alive. I, as you, read a great deal of new poetry, and I am happy (and relieved) to read work that doesn’t just convey sincerity, but which…

On Minal K. Singh

Drawing upon a keen intellect, historic and mythic images, and from her own Indian heritage, Minal makes poems that address essential mysteries. What compels me is how she is able to shape an image that offers revelation, and yet she retains what’s ineffable and unknowable. Like an Escher print, "dots" become "birds/with wing-length and body…

On Katherine Bell

Katherine Bell’s description of what her British post World War II woman finds buried in her backyard—her tiny garden—electrified me, not by what she found but by the delicacy of the description of what she found. A real writer. —Frank Conroy, director of the Writers’ Workshop at the University of Iowa, and author of four…

On Rebecca Soppe

Ms. Soppe’s work is nuanced and vivid, distinguished by a strong voice, a bold, experimental style, and wonderfully long sentences. In "The Pantyhose Man," the narrator is the collective spirit of the women who answer phones at a large Midwestern hotel. What begins as a comic account of how these women contend with obscene phone…

Introduction

As a beginning writer, I had the good fortune to study with Albert J. Guerard, the greatest teacher of creative writing in the twentieth century. Guerard—novelist, teacher, and critic with equal intensity—taught at Harvard for twenty-three years, then at Stanford for another twenty-three, and was a mentor to many of the century’s most esteemed writers,…

Introduction

I was once asked in an interview why cell phones don’t appear in my poems. This was followed up with a question about where I imagined the things that occur in my poems actually occur: "You know what I mean," said the interviewer, "things like deer and trees, birds and light . . ." I…

Introduction

As Steiglitz needed to photograph O’Keeffe’s neck in 1921 that we might see her as he saw her, Jennifer Martenson shoots from behind in 2002 “to show the vantage rather than what was seen from it.” The poems, fictions, and hybrid “lulus” (see Field, Thalia) herein, largely by younger writers, work along parallel or intersecting…