Ten Questions for Emily Lee Luan
“You write one poem precisely so that you can write the next.” —Emily Lee Luan, author of 回 / Return
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“You write one poem precisely so that you can write the next.” —Emily Lee Luan, author of 回 / Return
“I have to fight for every word, then fight to let them go.” —Vievee Francis, author of The Shared World
“Your voice is your voice. Your voice. No one else’s.” —Dean Rader, author of Before the Borderless: Dialogues With the Art of Cy Twombly
As a child the author idolized the sharp prose and arresting images of survival in Gary Paulsen’s young adult novels. Now, as an adult novelist, that love is complicated by questions of who gets to tell what stories—even as her admiration endures.
The author of peep finds poetic surprises in the workaday language of commerce and culture.
A look at three new anthologies, including Between Paradise and Earth: Eve Poems and The Language of Trees: A Rewilding of Literature and Landscape.
The author of I Am the Most Dangerous Thing introduces five journals that first published their poems and engaged them in community, including Sixth Finch and Prelude.
With the rise of AI-generated writing, writers and publications alike struggle with the question of what authorship means.
Hoping to inform, entertain, and connect to readers, 2Leaf Press has published dozens of poetry, fiction, and nonfiction titles as an independent nonprofit serving a diverse audience.
In her new Planetaria series, artist Monica Ong crafts visual poems in the form of objects that prompt the audience to experience poetry through the lens of astronomy.
Following poets laureate Ada Limón and Tracy K. Smith, poet Major Jackson steps into a new role as host of the celebrated podcast, sustaining and encouraging listeners to find new possibilities within poetry.
A trio of academics—including two poets—has compiled data on the winners and judges of major literary prizes in the U.S. Their findings raise critical questions about how social hierarchies influence who gets rewarded for their writing.
A poet shares how she builds a life around her writing in rural Wisconsin, where literary community takes surprising—and sometimes amusing—forms. She finds both struggle and abundance in her chosen path.
With roots in nature writing, environmental justice, poetry, and photography, Camille T. Dungy’s new book, Soil: The Story of a Black Mother’s Garden, delves into the personal and political act of cultivating one’s own green space.
Luis Alberto Urrea always knew his mother had a story; he just didn’t know how to tell it. But in researching his new novel, Good Night, Irene, he gained a deeper understanding of the person she was and the happy ending she deserved.
The first lines of a dozen noteworthy books, including Any Other City by Hazel Jane Plante and Thinning Blood: A Memoir of Family, Myth, and Identity by Leah Myers.
“Everything you are afraid of will be surpassed by desires you cannot yet imagine.” —Elizabeth Metzger, Lying In
The author of peep considers the ecstatic freedom of writing poetry.
“My writer’s brain picks up little pieces here and there and puts them together.” —S. L. Wisenberg, author of The Wandering Womb: Essays in Search of Home
The author of peep offers an exercise in negative capability.
“I had to not only transform into different people and places, but to also find myself within both of those.” —Victor LaValle, author of Lone Women
The authors of The Invisible Art of Literary Editing engage in a dialogue about textual doneness.
“Read more! Listen more! See more! Feel more! Take better notes!” —Laird Hunt, author of This Wide Terraqueous World
“I need to be authentic to my culture and invite readers to embrace the Vietnamese culture through my work.” —Nguyễn Phan Quế Mai, author of Dust Child
The author of The Art of Brevity: Crafting the Very Short Story offers a lesson in becoming a verbal junk collector.