by Nathan Go
“…As thoughtful, social beings, we are always editing ourselves, holding back items that we’re not brave enough to say, or might hurt the other person’s feelings or reveal too much about ourselves.”
Stephen Burt examines Laurence Goldstein’s review of Los Angeles poetry, Andrew Bush delves into Nancy Willard and Eric Lindbloom’s The River that Runs Two Ways, Yoon Choi encounters her heritage, Rebecca McKanna loses her virginity, and John Felstiner remembers an elusive figure from his childhood. Fiction by Liliana Colanzi, Claudine Guertin, Toni Mirosevich, Valerie Miner. […]
by Nathan Go
It seems that every year, a few applicants manage to get admitted to a handful of programs, begging the question whether the process is as random as one might initially think.
* Lillian Li *
Here are the things about me that you could glean from a quick glimpse at my search history:
I hurt my calf kickboxing and I want to do something about it. I have a crush on my kickboxing instructor and I maybe want to do something about it. I am learning how to cook quinoa. I have finished only a fraction of my taxes. I don’t know if I have health insurance. I am still learning how to cook quinoa.
* Kevin Haworth *
Many of my beginning fiction students believe that once they’ve figured out the ending to a story, they are ready to begin writing. But those of us with more experience know the traps involved in that kind of thinking. Writing toward a preconceived ending—writing deterministically, in other words—can help you finish a draft. But it can just as quickly lead to airless, overly managed stories. Only by opening up the story, again and again, can we really find its territory. Probabilistic fiction, so to speak.