March/April 2022

Created in response to social uprisings and the pandemic, Lampblack offers direct aid and community to Black writers and publishes an annual magazine that furthers Black literature. 

A growing movement asks that literary translators receive equitable compensation and acknowledgement, starting with the inclusion of translators’ names on book covers. 

The first lines of a dozen noteworthy books including Pure Colour by Sheila Heti and Dream of the Divided Field by Yanyi.

The inaugural cohort of Letras Boricuas Fellows showcases the vitality and diversity of Puerto Rican literature. 

After a period of transition, the Fayetteville, New York, press will begin a new chapter with a focus on publishing poetry in translation from contemporary writers.

The author reflects on magazines that offered homes to stories in her second collection, Jerks: “All the journals I’ve been lucky enough to publish with celebrate nervy writing.”

To bring attention to gendered book marketing, designer Christine Rhee reenvisions the covers of classic and contemporary books in her satirical series “Fake Books for Men” and “Fake Books for Women.”

David Treuer, a writer, teacher, and recently appointed editor-at-large at Pantheon, discusses his focus on publishing emerging Indigenous writers and the possibilities of his new role.

Three new anthologies, including The Long Devotion: Poets Writing Motherhood.

Write a poem that meditates on the origins of a meal; a fiction piece about a character corresponding with a historical figure; or an essay about accepting the onset of spring. 

Advice on becoming a writer ignores the impact of motherhood—and fails to acknowledge the privileges of canonical writers. The author describes learning “to see art-making as a professional possibility” as a brown mother-writer.

The best-selling nonfiction author describes the craft lessons he drew from the false starts that paved the way for his debut novel, All the Secrets of the World.