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Articles from Poet & Writers Magazine include material from the print edition plus exclusive online-only material.
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by Kevin Canfield
A recent headline in the New York Times Book Review declared, “Books Make You a Boring Person.” Many would disagree with that statement, but few would go as far as the folks in the marketing department at Penguin UK. The London-based arm of the venerable publishing house has begun to advertise its books as dating aids. According to Penguin, you’re not good looking—or Good Booking—unless you’re holding a book.
by Ken Gordon
Vladimir Nabokov once wrote, “Does there not exist a high ridge where the mountainside of ‘scientific’ information joins the opposite slope of ‘artistic’ imagination?” This was, of course, a rhetorical question, but Nabokov’s own life proved that this connection indeed exists. A dedicated lepidopterist (one who studies moths and butterflies), Nabokov not only held a post at the Museum of Comparative Zoology at Harvard University, he also wrote Lolita, a classic of 20th-century literature. I was recently reminded of Nabokov’s butterflies in, of all places, a dead man’s apartment in Boston.
by Eleanor Henderson
For nearly two years, WordTech Communications was one of the growing number of small presses using the contest model in which entry fees fund prize monies as well as the publication and promotion of winning books. Some would even say the Cincinnati-based press was gung ho about it, holding a different poetry contest every month. But in June, WordTech announced it was discontinuing its contest program and replacing it with an open-submissions policy, stating that there was more money to be made without contests.
by Kevin Larimer
Richard Howard will turn 75 in October, the same month that Farrar, Straus and Giroux will publish Inner Voices: Selected Poems 1963–2003 and Paper Trail: Selected Prose 1965–2003, and he seems more eager than ever to share his unique perspectives.
by Kevin Larimer
Literary MagNet chronicles the start-ups and closures, successes and failures, anniversaries and accolades, changes of editorship and special issues—in short, the news and trends—of literary magazines in America. This issue's MagNet features Granta, the Indiana Review, Black Warrior Review, Court Green, Columbia Poetry Review, Absinthe Literary Review, Minima, Wild Strawberries, and Cue.
by Timothy Schaffert
Every year, musicians, movie stars, filmmakers, and politicos share billing with creative writers at the New Yorker Festival, held every autumn at various New York City venues. Now in its fifth year, the literary event has turned into a pop-culture phenomenon.
Page One features a sample of titles we think you'll want to
explore. With this installment, we offer excerpts from A Reading Diary: A Passionate Reader’s Reflections 0n a Year of Books by Alberto Manguel, The Secret Goldfish by David Means, and A Complicated Kindness by Miriam Toews.
by Elissa Wald
Online Only, posted 8.19.04
Next month, Norton will publish Stephen Dunn's thirteenth book of poetry, The Insistence of Beauty, his second offering since his Different Hours won the 2001 Pulitzer Prize. In a writing career that has spanned three decades, Dunn has also been honored with the Academy Award for Literature from the American Academy of Arts & Letters, the James Wright Prize from the Mid-American Review, and the Levinson Award from Poetry magazine, as well as fellowships from the National Endowment for the Arts, the New Jersey State Council on the Arts, and the Guggenheim Foundation. He divides his time between Frostburg, Maryland, and Pomona, New Jersey, where he teaches creative writing at Richard Stockton College.
by Michael Depp
Online Only, posted 8.19.04
For the past fourteen years, Hank Stuever, a two-time Pulitzer Prize finalist, has published his unique brand of creative nonfiction in the form of newspaper articles in the Albuquerque Tribune, Austin American-Statesman, and the Washington Post. The subjects of his articles—haunted waterbed stores, plastic lawn chairs, beauty pageants, and discount funeral homes among them—hardly seem fodder for probing essays on the American psyche. But what might fall into the realm of light comedy for many writers takes on a lyrical profundity in Stuever’s work.