The New Orleans press publishes four or five poetry titles a year in an eclectic range of styles.
Articles from Poet & Writers Magazine include material from the print edition plus exclusive online-only material.
Andy Hunter, the cofounder of Electric Literature and Literary Hub, launches Bookshop, an e-commerce platform that promises indie bookstores a way to take back sales from Amazon.
A look inside three new anthologies, including A Map Is Only One Story: Twenty Writers on Immigration, Family, and the Meaning of Home edited by Nicole Chung and Mensah Demary.
After more than forty years of publishing innovative poetry, Ahsahta Press will shutter in June 2020.
In the first installment of a yearlong series on publishing professionals, three literary agent assistants in New York City reveal the inner workings of a literary agency.
Ten debut poets published in 2019, including Camonghne Felix and Jake Skeets, share their advice, inspiration, and path to publication.
Courses in graphic storytelling gain popularity at MFA programs, workshops, and community spaces across the United States.
An author recommends five journals that published essays from her debut collection, Dispatches From the End of Ice.
The first lines of a dozen noteworthy books including Cleanness by Garth Greenwell and Interior Chinatown by Charles Yu.
The fiction writer on the twentieth anniversary of Small Beer Press and the opening of Book Moon, a bookstore in Massachusetts that she co-owns with her husband, Gavin J. Grant.
An author tells a fantastical story by writing it a word at a time in the snow.
“I had to imagine the life of characters who shared some of my own history but had their own unique ways of being in the world.” —Jeffrey Colvin, author of Africaville
Cameron Awkward-Rich discusses turning archival research—traces of the past—into poems.
“Writing—the writing it down—has increasingly become the least important part of the process. Living in the world of the novel, existing as the characters, viewing the day-to-day from their perspective, is the most important thing.” —Jeff VanderMeer, author of Dead Astronauts
The author of Life in a Country Album discusses her influences, the idea of borders, and her multinational background.
“Sometimes at the end of an eight-hour day I’d have a single paragraph to show for it.” —Dexter Palmer, author of Mary Toft; or, The Rabbit Queen
Matt Brogan is the new executive director of the Poetry Society of America. He takes the helm from Alice Quinn, who led the organization for more than eighteen years.
“Much of the book I had no recollection of writing, and it was strange to be confronted with what I’d done, as though I was getting access to parts of my mind I hadn’t known existed.” —Nina MacLaughlin, author of Wake, Siren
“Don’t be afraid to cut it if it’s not working.” —Elaine Equi, author of The Intangibles
“My preferred notebook is a sharp-cornered, hardcover Roaring Spring black marble composition book with 20# paper, item number 77461, college ruled—I’m a Pisces and need a line to keep me grounded.” —Malcolm Tariq, author of Heed the Hollow
A debut memoirist speaks up about post-publication blues and offers some suggestions for how to cure them.
“I don’t trust any readers! And readers shouldn’t trust any writers. We’re all scoundrels, down to the last.” —Kai Cheng Thom, author of I Hope We Choose Love
“In college I had a fiction teacher tell me to make every sentence so good that the reader would have to read the next one. So basic and obvious but I needed to hear it.” —Jami Attenberg, author of All This Could Be Yours
“I sometimes wish the writing process for me was faster, but things need to percolate in their own time.” —Mimi Lok, author of Last of Her Name
“Read like your work depends on it. It does.” —Adrienne Brodeur, author of Wild Game