The poet reflects: “Poetry is where/ I understand/ I am nothing/ If I can’ t sit/ For awhile/ In the audience.”

In the New Republic, Row considers the inevitable politics of fiction-writing and asks, "What are novels for, and what are novelists for?"

The Fanzine meditates on Choi’s use of photographs throughout her collection, and remarks in praise that “nothing in Hardly War is what it appears to be on the surface.”

On The Millions, Alexander Chee talks with fellow writers Emily Barton and Whitney Terrell about the process of writing a novel in ten years, and shares his highs and lows of the experience, from elaborate breakfasts to missed family vacations.

Ruhl talks to the theatre journal about her journey from poetry to playwriting, and shares her advice to young playwrights: “Read more, walk more, love more.”

Parks tells the story of her father, a Vietnam War veteran, and talks about the childhood memories that influenced her latest work, Father Comes Home from the Wars.

The New York Review of Books raves, “like incantations, Graham’s best poems cast spells,” praising Graham’s ability to capture “the drama of that mind in motion.”

On Poetry Foundation, Sinclair reflects on using The Tempest as inspiration in her latest collection to “interrogate disruptive histories and the power of the language I live with.” 

Whitehead talks about racism in America and reveals how he dealt with rejection during his early days of writing. 

Wayne explores the concept of privilege and shares insight into creating empathy for an unlikeable character.