“This hour/ not reserved for you: who/ are you to enter it?” asks Doty, in a new poem for Poets.org.

In the Los Angeles Times, Freeman praises Long Soldier’s repetition and lyricism in her collection Whereas, and invites readers to “scratch themselves raw” reading her poems about Native American history. 

Hnath’s A Doll’s House, Part 2 is nominated for Best Play. The play, a continuation of Henrik Ibsen’s A Doll’s House, was also nominated in several other categories, including Best Costume Design and Best Lighting. All four of the play’s actors were nominated for Tony Awards. 

Poetry Foundation features an excerpt from a new poem by Williams, “Interruptive,” in which the poet laments, “What do I know of occupation/ but my own colonized thinking to shake/ free from.”

Open Letters Monthly reflects on Batuman’s The Idiot and Dostoevsky’s book of the same name, exploring the themes of reality and tragedy in both works. 

Vuong talks about why a poetic outlook is vital even to non-writers, and why he believes “to be a writer is to basically confront and embody failure.”

Long Soldier discusses her personal method of using poetry as protest, and why Native writers – including fellow Whiting winner Sherwin Bitsui – are the artists who most inspire her. 

Bookforum explores the role of the university in Batuman’s novel The Idiot, writing, “For Batuman, the university offers the writer not a retreat, but rather encounter, exposure, and the opportunity to travel the globe.”

The University of Arizona highlights Whiting winners Muñoz and Grise’s upcoming work, a dramatic adaptation of the novel Their Dogs Came with Them, which seeks to explore displacement in the Latinx community. 

Brown discusses how poets can change the world and how to begin the process of “asking the poem what it wants to be.”