Editor's Introduction

  • Introduction

    I used to think a poem could become a flower, a bear, or a house for a ravaged spirit. I used to think I understood what it meant to write a poem, and understood the impetus to write, and even knew a little something of the immensity of the source of poetry. I was never…

  • Introduction

    The vigor and accomplishment of contemporary American literature is nowhere more easily appreciated than in the journals and quarterlies that labor doggedly, and for the most part thanklessly, to display both the quantity and quality of the enterprise. The quantity and quality of those journals and quarterlies themselves is both staggering and delightful, and the…

  • Introduction

                         ". . . whence a whole world emerges."—Cavafy A friend of mine finds out from her agent (her editor never calls) that her book, her fourth, has been dropped from her publisher’s catalogue. The work is too difficult. A writer I know is told, "How about putting in some dogs? People love it when…

  • Introduction

    This special Emerging Writers issue features forty poets and ten fiction writers who have yet to publish a full-length book, nominated by authors who have. When we put out a call for submissions to the issue, our hope was that writers who had already established their literary careers would be inclined to help others get…

  • 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…

  • Introduction

    Last autumn I found myself talking about my new novel at a fundraiser for a college library. Only after I’d committed to doing this did I discover that I was following a man who had written a popular book about the human genome project and preceding a woman who had written about recent war crimes….