“I’m fascinated by the in-between, the doorway. I often wonder if I’m actually living, or just being dreamed by some greater consciousness. I mean, how would I know, really?”
If the material is personal, I change the names of the living: they can elect to claim their part or not. This is different from anything I did in the first book: the first book involved itself more with damage and this new book is more about reconciliation.
by Amy Weldon
At this point in Reece’s story, poetry and ministry begin to draw and twine together, taking the narrative, literally, to an unexpected place: Our Little Roses, a girl’s orphanage in Honduras.
“The recognition has been amazing. Writers, poets… we work a long time, we work hard, and until I won the PEN New England, I hadn’t quite realized how my confidence had been chipped away. ”
by Athena Kildegaard
Attention to the natural world and to memory enliven Skolfield’s poetry. A third source of vitality is her interest in the details of the imagination.
by Sue Dickman
Except for his first four years of primary school, his education was entirely in English, and he studied English literature in college. The surprise, then, is not that he chose to write in English but that he’s written fiction in Marathi at all, which he calls “perhaps one of the happiest accidents of my life.”
by Terry Ann Thaxton
For Adair, too, poetry was highly personal . . . it was “a way of life.” Adair, who was born in 1913, started writing poetry at the age of 5 or 6—she couldn’t remember exactly. For Adair, it seems, poetry preceded memory.