Whiting winner Rinne Groff talks about her new play at the Public Theater, Fire in Dreamland, and the very human longing for escape that motivates her characters.

Hayes discusses how the sonnet form drove his latest collection, American Sonnets for My Past and Future Assassins, and rule-breaking in poetry.

Congrats to Azareen Van der Vliet Oloomi, whose novel Call Me Zebra "represents some of the best that Indiana literature has to offer."

J.D. Daniels talks self-plagiarism, Daniel Barenboim, and science fiction in a series of letters with fellow writer Barry N. Malzberg.

"She was one of those people—the kind to create an Excel spreadsheet of everything she owned and send it to him." In Wang's story for the New Yorker, complexities bubble beneath the surface of a couple's sushi dinner in Harlem.

"Some nights I wake/ and everything hurts/ a little. It is/ amazing how long/ a ruined thing/ will burn." In a new work for Poets.org, Guest tackles pain, loss, and memory.

In a new poem for Hyperallergic, McCrae's narrator muses: " I see folks’     Gods whenever I see their faces/ But God don’t look like anybody here/ For me     God is a woman     and Her face is/ Black as a bright black stone."

Azareen Van der Vliet Oloomi discusses her novel Call Me Zebra and why she believes  "Writing is an act of communication, a gesture of affection and empathy toward others, a form of call & response."

Whiting winner Dan Chiasson reviews the new poetry collection by fellow winner Hayes, calling American Sonnets for My Past and Future Assassins "one of the deepest accounts I have read in poetry of what it feels like to have one’s body fetishized as an object but criminalized as a force."

Lambda Literary calls Koestenbaum’s latest, a follow up to his Pink Trance Notebooks, an “existential cotton candy cloud spun big as life.”