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Articles from Poet & Writers Magazine include material from the print edition plus exclusive online-only material.
The editor of The Best Short Stories 2022: The O. Henry Prize Winners sees translation as a way of putting a language back in movement by allowing the currents of different languages to mix and blend.
A poet and critic who has written dozens of reviews for newspapers, literary journals, magazines, and websites offers practical advice for reviewers who want to show their readers what a book looks like through their eyes.
This collection of case studies in self-publishing offers independent authors advice, warnings, encouragement, and inspiration.
“I was surprised by my own tendency to write longer and longer lines and to frequently slip into prose poems.” —Nina Mingya Powles, author of Magnolia 木蘭
The author of Animal Joy: A Book of Laughter and Resuscitation offers a psychoanalytic approach to imagining the reader.
“If you can surprise a reader with a character’s reaction, a scene will almost always work.” —Megan Giddings, author of The Women Could Fly
“Writing, I now believe, is both a confidence trick and an alchemical process.” —Sarah Thankam Mathews, author of All This Could Be Different
Seven poets and writers are among the class of 2022 Disability Futures fellows.
“I needed to live all of the change and movement and multiplicity that the book wound up being about in order to write it.” —Caylin Capra-Thomas, author of Iguana Iguana
The author of Took House explores what happens when poets permit themselves to write about the same subject multiple times.
“A reader who truly needs these stories might not come to them for weeks, months, or even years.” —Isaac Fitzgerald, author of Dirtbag, Massachusetts: A Confessional
The author of Took House explores the importance of “strangeness” in poetry and offers a method for capturing this quality by combining two different draft poems.
Librarian of Congress Carla Hayden has named Ada Limón the next poet laureate of the United States.
“This book really fought me, or I fought it, for the first couple of years.” —Safia Elhillo, author of Girls That Never Die
The author of Took House explores a kinder approach to revision, in which language cut during one editorial process may be saved as material for a new writing project.
“I think it was essential that I turn further inward, that I trust the ‘quieter’ poems.” —Zeina Hashem Beck, author of O
“Write because you want to, not to define yourself for the benefit of other people.” —Maya Marshall, author of All the Blood Involved in Love
The author of [WHITE] explores the benefits of writing to a specific audience and the risks of trying to meet the market’s imagined demands.
“I was struck by the freedom of third person, how I could roam and jump and skip around, and cozy up to characters and then back away.” —Ottessa Moshfegh, author of Lapvona
The author of [WHITE] considers how writers might take inspiration from visual artists in their approach to revision, pushing beyond surface editing to “see” their work afresh.
An excerpt from Blithedale Canyon by Michael Bourne, who writes in the July/August 2022 issue about his long path to publishing his debut novel without the assistance of a literary agent.
The Multiverse book series from Milkweed Editions spotlights the work of neurodivergent poets and powerful new ways of “languaging.”
Interviews with debut authors Leila Mottley, Tsering Yangzom Lama, Arinze Ifeakandu, Paige Clark, and Morgan Talty, as well as excerpts from their books.
The first lines of a dozen noteworthy books including The Crane Wife: A Memoir in Essays by CJ Hauser and Gods of Want by K-Ming Chang.
Recognizing that talent and relevance have no age limit, the Henry Morgenthau III First Book Poetry Prize from Passager Books spotlights debuts by poets age seventy and older.
