“The greatest challenge was in recognizing which poems belonged to this book and which did not.” —Carolyn Forché, author of In the Lateness of the World
This week’s installment of Ten Questions features Ho Sok Fong and Natascha Bruce, the author and the translator of the story collection Lake Like a Mirror.
The issues are cohesive; the whole of the magazine is comprehensive.
Submit anything, from new to almost-forgotten, previously published if noted in an email, or rejected for whatever reason from other venues. I do work with talented writers if a theme or plot or character can be drawn out and refined for publication in Wood Coin. The magazine is uncensored as of January 2018, yet extreme literary or artistic stunts need to coincide with US obscenity laws.
Four days after a liberal blogger and writer was stabbed at a bookstore during a reading in Beijing, the writing community here still has more questions than answers. Xu Lai is recovering, his compatriots are actively theorizing about the motives behind the incident in their blogs, and the proprietors of the bookstore-café that sponsored the event are uneasy and hoping to avoid notoriety.
Five years ago, as poets and readers attended the annual StAnza poetry festival, the war began in Iraq. This year’s festival, held from March 12 to March 16, acknowledged that anniversary explicitly with its two themes, “Poetry & Conflict” and “Sea of Tongues.”
“We can’t say it’s the end of irony,” said poet Carolyn Kizer, in light of the terrorist attacks on September 11. “It’s the beginning. But irony is seldom appreciated by American culture.”
In her fifth collection, The Carrying, Ada Limón digs deep down to the roots of what she sees happening in the world today—and she is deeply troubled by what she finds.
In his sixth book, a sonnet sequence published by Penguin in June, Terrance Hayes cuts deep, to the marrow of the American moment, in a form with a razor’s edge: love poems for the forces trying to kill you.
Poets and educators work to fight campus carry bills.
Poet, publisher, editor, and activist Carmen Giménez Smith, whose fifth book, Cruel Futures, is out from City Lights, has some advice for other hardworking poets: We make art to reach readers, not to win a race.