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Articles from Poet & Writers Magazine include material from the print edition plus exclusive online-only material.
“Trust yourself enough to know that you don’t need to do backflips for your readers on the page. Just walk straight ahead.” —Aaron Robertson, author of The Black Utopians: Searching for Paradise and the Promised Land in America
The author of The Body Alone: A Lyrical Articulation of Chronic Pain contemplates how hybrid writing can capture the nonlinear chronology of pain.
“Take a year, pursue it, and see what happens.” —Afabwaje Kurian, author of Before the Mango Ripens
“The orality and intimacy of the lecture bring it closer to some aspects of lyric poetry than the nonfiction essay.” —Srikanth Reddy, author of The Unsignificant
“There is no point in learning how to sculpt if you don’t know where to get the clay.” —Devika Rege, author of Quarterlife.
The author of Us From Nothing offers an exercise to enhance the body’s role in the act of writing.
“Now, though, years have passed, and I do have more peace about my past and my process. From afar, I can finally see what I was doing, and why.” —Jay Baron Nicorvo, author of Best Copy Available: A True Crime Memoir
The author of Us From Nothing offers an exercise to become mindful of the body’s role in the act of writing.
A novelist based in rural Maine shares how she creates community—by reading her literary ancestors, engaging with living writers all over the state, and hosting an online writers studio—all while dispensing with the archetype of the lonely writer.
“Don’t forget to have a good time. Stay loose. Enjoy the labor. Follow through.” —Elisa Albert, author of The Snarling Girl
The author of Us From Nothing revises his thinking about the role of the body in writing.
“I’d love to be the kind of writer who sits down at my desk at a specific and predictable time...and write, but I’ve never been that writer. —torrin a greathouse, author of DEED.
A look at two new anthologies, including Here to Stay: Poetry and Prose From the Undocumented Diaspora, edited by the writer-activists of Undocupoets.
The first lines of a dozen noteworthy books, including Yr Dead by Sam Sax and Under the Eye of the Big Bird by Hiromi Kawakami.
Excerpts from Bones Worth Breaking by David Martinez, Little Seed by Wei Tchou, The Lucky Ones by Zara Chowdhary, The Exit Is the Entrance by Lydia Paar, and Come by Here by Neesha Powell-Ingabire.
Despite decades of explosive growth, factors including financial pressure and low admissions have left many MFA programs with no choice but to close. Faculty and administrators reflect on the fallout for their communities.
The Odesa Poetry Studio is a free program that creates space for children to gather, write poems, and share their work with one another, validating their voices and feelings as they live through ongoing war.
For more than ten years, Meekling Press has been producing artist books, blending text and visual design to make unique literary-art objects with a playful punk sensibility.
The author of Thanks for This Riot, a debut story collection, introduces some of the online publications that first gave her stories a home, including American Literary Review and Okay Donkey.
Inspired by traditional and contemporary quilt patterns, artist Larry Clifford crafts each of his BiblioQuilts from hardcover books rescued from libraries, basements, and attics.
This series of interviews with over forty book editors, publishers, and agents offers a unique look at the past, present, and future of the book industry and what writers can do to thrive in today’s publishing world.
Before the author of Barnflower was a writer, she was a farm kid. The memoirist shares moments from her book tour, which included meeting cows and visiting corn mazes alongside reading at local bookstores and reconnecting with friends.
The former editorial director of Akashic Books, now an executive editor at Viking, talks about his experience moving from an indie press to one of the Big Five publishers.
The executive editor of Callaloo Literary Journal, one of the most influential publications of the African diaspora, speaks about Callaloo’s future and how the journal will continue to break new ground.
“I thrive in the blur between my waking world and my invented worlds.” —Navid Sinaki, author of Medusa of the Roses
