The voices in these poems are not often heard outside the South, and they are voices that, like the land, are being lost with the development and modernization that characterize the New South. Yet they express emotions and concerns we all share, and wherever I’ve taken this project, people are responding to it.
by Jessica Levine
Because I wanted to write novels and knew that writers draw on their memories, the idea of not remembering years of one’s life, the major as well as the minor events, terrified me—an enormous loss not only of experience but also of creative raw material.
by Tricia Stearns
I took a class on the art of research. We were required to choose a subject worthy of a future thesis topic. . . . [m]y topic included poverty among single women, organic produce, local farmers, and ways to eat healthy on a severe budget.
by Vicraj Gill
Both “writing and mothering” and the question of privilege come up in a great conversation between Lauren Francis-Sharma . . . and Bernice McFadden about their lives as published writers of color.
by Alice Lowe
I’ve planned this return trip for a year. It was to be a solo journey with a Woolfian agenda. So when Don, a painter, musician, and avowed Anglophile . . . expresses wistful envy at my plans, I surprise us both by blurting out, “Come with me!”
by Charlotte Zoë Walker
“It pleased him; it puzzled him; it was so hard, so concentrated, so definite an object compared with the vague sea and the hazy shore.” Isn’t this one way of describing what a successful work of art or literature does, in relation to life?
by Evelyn Somers
I read The Blue Flower out of sheer curiosity: I wanted to know how a writer who has waited that long to publish could be that good.