In this week’s Mix Tape on the Kenyon Review blog: the problem with being a submitter but not a subscriber; a collection of open letters to Mitt Romney from Erin Belieu, Mark Wunderlich, Juliana Baggott, and many others; five reasons why poems get rejected; and much more.
In this week’s Mix Tape on the Kenyon Review blog: Edith Wharton is played by a 30-year-old Russian supermodel? Dick Durbin is taking an online contemporary poetry course? Catch up on these stories and much more.
In this week’s Mix Tape on the Kenyon Review blog: the pitfalls of the “buckshot or cluster-bomb strategy” of simultaneously submitting work to multiple journals; the three types of stories unlikely to survive beyond the slush pile, including “sad garage sale”; an interview with Dinty W. Moore on being a mindful writer; and much more.
In this week’s Mix Tape on the Kenyon Review blog: Will the old writing you’ve disowned—the poems full of mixed metaphors, the stories you never knew how to end, the essays that seem to fall flat—follow you around forever? How is posthumous publishing like organ donation, according to the Paris Review? What do you need to know before sending poetry book manuscripts out to contests and presses this fall? Check out all of this and much more.
In this week’s Mix Tape on the Kenyon Review blog: a look at the gratuitous-by-nature, name-dropping acknowledgments page; the rise of the book-review-for-hire; writing advice from Roxane Gay; and much more.
In this week’s Mix Tape on the Kenyon Review blog: Andrew Scott’s response to the “ladder-climbing” and “posturing” behind nasty reviews and other writer-on-writer crimes; Flannery O’Connor’s response to an English professor who wrote and asked her to explain one of her short stories; and much more.
In this week’s Mix Tape on the Kenyon Review blog: the relationship between increasing literacy and decreasing brutality (maybe poetry has changed the world!); the history of poetry at the Olympics; a proposed alternative to the post-MFA adjunct grind; and much more.
In this week’s Mix Tape on the Kenyon Review blog: the cease-and-desist letter Lazy Fascist Press received from Jack Daniels concerning a book cover; Lace Sensor Dresses, which play poems aloud through tiny, sewn-in speakers when parts of the dresses are touched; a 1968 BBC interview with a seven-year-old boy named Neil Gaiman about his experiences with Scientology; and much more.
In this week’s Mix Tape on the Kenyon Review blog: literary characters and what they were almost named; meeting your literary nemesis in an MFA program; a Bukowski-Sondheim musical; and much more.
In this week’s Mix Tape on the Kenyon Review blog: The 3:AM website disappeared last week, so what are the ultimate consequences for online magazines, if it’s this easy for one to vanish into cyberspace? Plus Michael Cunningham breaks down the Pulitzer breakdown, in two parts, and much more….including Johnny Depp’s new role as a book editor.
In this week’s Mix Tape on the Kenyon Review blog: gamers in Tehran will soon be able to carry out the fatwa on a virtual Salman Rushdie in a video game, “The Stressful Life of Salman Rushdie and Implementation of his Verdict”; Sarah Manguso has some practical advice for young writers beginning their careers; publishers redesign classic novels with “that Urban Outfitters customer in mind”; and more great finds.
In this week’s Mix Tape on the Kenyon Review blog: “The Book That Can’t Wait” demands your immediate attention—because it was printed using disappearing ink; research shows that a busy coffee shop is a better location for tackling a creative project than a quiet library; a new site—What Was That Book?—helps connect readers with the long-lost books they can’t quite remember; and more literary ephemera worth checking out and sharing.
In this week’s Mix Tape on the Kenyon Review blog: Do you like “suave V words, such as Svengali, svelte, bravura, verve” or “crunchy, brittle, crackly words, such as splinter, grapple, jostle, crusty”? Why do crayon names matter so much? What’s with Groupon’s literary style? And, wait, there’s more…
In this week’s Mix Tape on the Kenyon Review blog: What are the top ten poetry presses based on their book covers? Where do things stand in publishing for writers of color, based on books reviewed by the New York Times? What does poetry have to do with utopia? Check out these stories and more water-cooler-worthy literary tidbits.
In this week’s Mix Tape on the Kenyon Review blog: remembering Ray Bradbury, who died this week at age 91; honoring Natasha Trethewey, the new PLOTUS; laughing at ourselves thanks to the fine writers at the Onion; and more.
In this week’s Mix Tape on the Kenyon Review blog: Marjorie Perloff, on how “well-crafted” poems are formulaic; Pentametron, a robotic Twitter account who turns tweets into metered poems; graphic designer Karen To, who revives “dead” words with creative typography; and more.
In this week’s Mix Tape on the Kenyon Review blog: an infographic of the 2011 Booker Longlist novels broken down by theme shows that Death is still your best bet, but maybe Nanny Trust Issues, Homicidal Cowboy Brothers, and An Escaped Tiger will gain some ground in the coming years; new research in psychology shows that fiction molds us more than nonfiction (and in positive ways); Bret Easton Ellis is on Kickstarter, offering notes on your novel for a $5,000 pledge; and much more where that came from.
In this week’s Mix Tape on the Kenyon Review blog: Where’s the Springsteen or Mellencamp for struggling creatives—dancers, artists, actors, musicians, writers, designers—who are barely keeping their heads above water? What gives old books their signature smell, that “combination of grassy notes with a tang of acids and a hint of vanilla over an underlying mustiness”? And how does one edit a book of poetry?
In this week’s Mix Tape on the Kenyon Review blog: On the Bro’d, a word-for-word retelling of Jack Kerouac’s On the Road…in bro speak; novelists speak out about the controversial decision not to name a Pulitzer winner in fiction; the true story of a blind woman who sits down to write, but the pen is out of ink, so the manuscript is invisible; and much more.
In this week’s Mix Tape on the Kenyon Review blog: Who said it, James Joyce or Kool Keith? (“One is the most innovative writer of the 20th century, the other is James Joyce.”); a scale that shows which lit mags give stories the best chance at inclusion in the Pushcart Prize collection, the Best American Short Stories series, and the PEN / O. Henry Award series; the baffling trend of books titled The ___’s Daughter; and much more.