“I won’t tell you how it ended/ But it ended” begins Phillips’s ode, on Poets.org, to a lost romance. 

Publishers Weekly gives Sinclair’s debut collection a starred review, calling the work “stunning” and praising Sinclair’s depiction of the dangers of white supremacy. 

In The California Sunday Magazine, Daniel Alarcón profiles two men in Stockton street gangs to investigate why “life has a way of making brave boys punish themselves."

In The New York Times, Sayrafiezadeh illustrates how to find the deeper meaning in painful experience and explains why “sometimes trauma alone does not a story make.”

Keene received the Award from the Before Columbus Foundation for his book Counternarratives. The American Book Awards, given each year, recognize “literary excellence without limitations or restrictions.”

On the Center for Fiction blog, Chee dives into the importance of treating one’s own life as a research project, even when writing fiction.

Core discusses how watching television has influenced her writing process and why she feels “my first love is for people, and writing is really just an extension of that love, a place to put it.”

In The New Yorker, Batuman reflects on a century of psychological testing and "how impossible it is to categorize the human mind." 

In The Bennington Review, Sinclair's poem is a portrait of a young girl who had “known what it was to be nothing.”

Chee remembers the girlfriend who taught him about street style, "a way to not be serious about fashion that was also so very serious about fashion," for Elle. 

The National Post declares that Parks’s story of a black man forced to serve in the Confederate army during the Civil War is “exhilaratingly ambitious” and proclaims the play “has the feel of greatness.”

Whitehead discusses how fatherhood has impacted his writing and the importance of cautious hope.

In the New Yorker, Karr describes her own experience with a “shockingly casual” sexual assault and explains why “guys who make creepy comments on the streets aren’t just oafs.”

Hayes discusses which non-poetic works have most inspired him, and why he believes “writers should fully embrace the idea of persona, of never being fully who you are, or almost who you are.”

NPR praises Whitehead’s willingness to tackle national “wounds that still haven’t healed” and declares that, in his latest novel, “Colson Whitehead's talent and range are beyond impressive and impossible to ignore." 

On Literary Hub, a story from Core’s collection When Watched depicts the interaction between two former lovers in a grocery store, and a narrator who can’t help thinking filthy, lonely thoughts. 

For the literary podcast, Jackson discusses the one book his prison library had written by a black author, and how reading while incarcerated inspired his later novel.

Whitehead discusses how the movie 12 Years A Slave affected his writing process and where he focused his research for The Underground Railroad.

For The New Yorker, Wayne parodies an overly tense pilot who advises passengers to “not look out the window – trust me.”

Essay Daily writes that Ruefle’s prose “makes you laugh aloud, and, in the same beat, breaks your heart” and declares that “an entire book” could be written on the magnitude of her new collection's title piece.

“We’re thrilled to honor both the visionary artistry and activism of Danai Gurira,” said Teresa Eyring, Executive Director of TCG. Gurira's play Eclipsed was nominated for a 2016 Tony Award.

"Although these are deeply personal losses, Vuong’s pitch-perfect approach, through the legacy of war and forced displacement, shows us why we can’t afford to let him remember them alone," the magazine writes, praising Vuong’s use of rhetoric. 

In The New Yorker, Talbot delves into why the former Trump campaign manager’s addition to CNN is “a special case.”

The New Republic explores the complex history of slave literature, discussing the ways in which “Whitehead interrogates the silences in history to force a twenty-first-century audience to see the violent reality anew.”