Thanks to Catherine Pierce, author of Famous Last Words and The Girls of Peculiar, for tagging me in this self-interview series. UPDATE! The Well Speaks of Its Own Poison is the winner of the 2012 Dorset Prize, selected by Kimiko Hahn. It will be published by… Read More
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… Read 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.… Read 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… Read 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.