from The Editors
There is no doubt that Bloom fills a crucial and vital gap in literary life and conversation. The community grows and grows.
by Kaulie Lewis
The “plucky, nonconformist, self-determined and self-realized person” who embodies a particular American ideal could also be a description of Iceberg Slim, a career pimp who turned to writing during the political turmoil of the 1960s.
by Thomas H. McNeely
The difficulties I faced in revising Ghost Horse were both artistic and spiritual. I was aiming straight for the heart of a dilemma through which I had lived, and I did not have the tools at hand to tackle it.
“I’d always felt frustrated by books that made things simpler than I’d found them to be. Even writing English papers as a college student, you’re supposed to sound like you know what you’re talking about. But so often I didn’t–I didn’t even know what I meant. But I knew that. So I began to explore language that expressed the groping way I thought, mixing uncertainty and mistakes with bursts of insight. I found that this was the way to just sound human.”
by Carola Dibbell
She was always finding girls in trouble, damsels in distress. She was always volunteering to be their knight in armor. Yet when it came down to it she never knew what to say. “Want to talk?” she ventured.
by Mason Stokes
The first time this happened, I was puzzled. Pursuing a PhD in English has nothing to do with novel writing—couldn’t be further from it, in fact. If I was engaged in anything, it was novel unwriting.
“The question is, how do we honor the sacrifice without glorifying war itself? It’s a major issue for all of us, and one I felt keenly as Cartographer grew into the novel it became.”
by Terry Hong
The Cartographer is first a story about humanity and what happens to that humanity when confronted with the most inhuman circumstances.