Article Archive

As part of a continuing series, we offer a breakdown of the numbers behind our Grants & Awards listings.

From Stephen King’s The Body to Kurt Vonnegut’s Slaughterhouse-Five, Ig Publishing’s new Bookmarked series offers short personal narratives that explore how a particular work of fiction helped shape a writer’s career.

Small Press Points highlights the innovation and can-do spirit of independent presses. This issue features the Midwest-based Rescue Press, a publishing house that’s championing fluidity of form in literature.

The newly revamped Literary MagNet highlights an emerging author alongside the journals that have published that author’s work. This issue’s MagNet features essayist Angela Morales, whose debut collection, The Girls in My Town, is out in April from University of New Mexico Press; and a selection of print and online journals that first published the essays in her book, including River Teeth, Arts & Letters, 1966, the Baltimore Review, and Literary Mama.

With so many good books being published every month, some literary titles worth exploring can get lost in the stacks. Page One offers the first lines of a dozen recently released books, including Masande Ntshanga’s debut novel, The Reactive, and Emma Straub’s third novel, Modern Lovers, as the starting point for a closer look at these new and noteworthy titles.

With so many good books being published every month, some literary titles worth exploring can get lost in the stacks. Page One offers the first lines of a dozen recently released books, including Maylis de Kerangal’s latest novel, The Heart, translated from the French by Sam Taylor, and A. Igoni Barrett’s debut novel, Blackass, as the starting point for a closer look at these new and noteworthy titles.

Now in its third year, the annual Kimbilio fiction writers retreat provides “an oasis, a sort of freeing space, where nobody has to apologize for being their black self or writing about black people.”

A nonprofit in Iowa closes its residency program after ten years to focus more on public arts programming. Founder and former codirector Joe Lacina explains why.