A roundup of four new anthologies, including the third volume of the BreakBeat Poets series, Halal If You Hear Me, edited by Fatimah Asghar and Safia Elhillo.
Articles from Poet & Writers Magazine include material from the print edition plus exclusive online-only material.
The first lines of a dozen noteworthy books, including The Tradition by Jericho Brown and Orange World by Karen Russell.
Funded by novelist Charles Frazier, the Cold Mountain series will highlight new literary fiction from the South.
A pair of English singer-songwriters perform literature-inspired music in bookstores across the United States.
A literary agent answers questions from writers about genre, age, costs, and client lists.
A historical novelist discusses her experiences in self-publishing; an editor and publicist weigh in.
Poet and memoirist Meghan O’Rourke, the incoming editor of the Yale Review, discusses her approach to editing, her plans for the journal, and the trends she’s most excited about.
Poets House in New York City launches an interactive digital exhibition of their chapbook collection.
The online storytelling community expands to print with the launch of Wattpad Books.
The industry’s best and brightest agents respond directly to readers’ questions in this regular column dating back to 2010.
“If what you’re writing begins to scare you, don’t stop—it’s about to get real good.” —Gala Mukomolova, author of Without Protection
After the death of Donald Hall, on June 23, 2018, a poet says goodbye to his mentor and friend.
The search is underway for the next executive director of the Cave Canem Foundation.
A best-selling author offers some light-hearted tips for authors crafting those obligatory pages at the front and back of their books.
“There’s a lot of mystery in my writing process, and I have the suspicion that I’m doing all the steps out of order.” —Emily Skaja, author of Brute
“My best work, regardless of genre, often happens in one big burst.” —Namwali Serpell
“It’d be nice if the American literary community’s obsession with signal-boosting the optics of diversity were solidified into a tangible, fiscally remunerative reality for minority writers.” —Bryan Washington
“I’d love the community of contemporary writers to read each other with the freedom and rigor (vigor) we bring to hearing the music we love the most.” —Ed Pavlić
“A good portion of Gingerbread was written sitting on the floor, in a chair with no legs but excellent back support.” —Helen Oyeyemi, author of Gingerbread
In his new memoir, Survival Math, Mitchell S. Jackson examines his own life and the men who shaped it, exploring the complexities of family, fatherhood, and America.
“The literary community is too small—I’d create lots more thoughtful and appreciative readers like the ones who read interviews in Poets & Writers Magazine.” —Brian Kimberling, author of Goulash
“Go there. When the work takes you somewhere deep, it can be difficult not to swim back up out of fear or squeamishness.” —Lindsay Stern, author of The Study of Animal Languages
The annual twelve-day conference at the University of the South, featuring workshops, craft lectures, and a historic community of writers, turns thirty.
Twenty-two writers, including Alexander Chee and Rebecca Makkai, offer their personal take on the best retreats for productivity, motivation, networking, and more.
The Center for Fiction relocates to Brooklyn, New York, with plans to expand its membership, events, educational offerings, and resources for fiction writers.