In her second novel, Julie Otsuka returns to the chapter in Japanese American history that captured the attention of so many fans of her debut: the relocation camps of World War II.
Article Archive: Feature
Articles from Poet & Writers Magazine include material from the print edition plus exclusive online-only material.
Staring down a disorder that prevents her from recognizing faces offers ample material for a memoir, but Heather Sellers tackles much more in You Don't Look Like Anyone I Know.
Contributor Jeremiah Chamberlin profiles indie innovator Dzanc Books, which in four short years has gone from a start-up to a publisher with five imprints, three literary magazines, and a list of over fifty titles.
Moving into new poetic territory, Major Jackson, in his third collection, Holding Company, corrals the ecstatic in a ten-line form.
A writer who stayed in the French Quarter during and after Katrina measures the spirit of America’s oldest Bohemia before its reincarnation.
One writer's monthlong journey with her family from her home on the Gulf Coast to three different cities as she searches for a respite from the storm, meeting others along the way whose loss puts hers in perspective.
A writer grapples with his decision to abandon writing, flee New Orleans during Hurricane Katrina, and become a passive witness to a narrative spun by nature.
On Tuesday the second annual United Nations World Oceans Day was observed, a date that also marked the seventh week of the ongoing oil spill in the Gulf of Mexico.
There’s more to novelist Scott Turow than a knack for compelling plotlines and a sales history that stands at more than thirty million books—and we’re not just talking about his day job as an attorney.
As the editor in chief of Twelve, Jonathan Karp is always looking for good writing. Considering that half of all the books he’s published there have become best-sellers, that should make a lot of writers very, very excited.
Sherwin Bitsui’s new poetry collection, Flood Song—a sprawling, panoramic journey through landscape, time, and cultures—is well worth the ride.
For Anselm Berrigan, whose fourth book of poems, Free Cell, is just out from City Lights, the work that pays the bills is in frequent opposition to the work that fills the page.
Georges Borchardt has been an agent for more than fifty years. He’s seen authors, editors, and other agents come and go, but two things have never changed: his belief that good writing is a gift and his ability to get it published.
Some publishers may have lost sight of what’s important, but the head of FSG shows his allegiance as he discusses the fallacy of the blockbuster mentality, what writers should look for in agents, and his close bond with authors.
Four agents discuss how the economy is affecting their jobs, where they’re finding new writers, and what totally freaks them out about MFA students.
Four young editors, from big houses and small, take some time off to discuss what makes a good manuscript, what they’ve come to expect from their authors, and how much of their work needs to be done at night and on weekends.
Award-winning poet Lucia Perillo would just as soon surrender the idea of a readership altogether and focus on what truly matters—great poetry.
Four young literary agents meet for an evening of food, wine, and conversation about the writing they’re looking for, how they’re finding it, what they love, what they hate, and ten things writers should never ever do.
Getting there may be half the fun, but for Rolf Potts, author of Marco Polo Didn’t Go There, the art of traveling—and travel writing—raises more important questions than how to go from point A to point B.