For its scale and internal complexity alone, the literary genre of “romance” warrants more study than it has received.
Eleanor Catton’s "Birnam Wood" is a leftist novel filled with radicals who fail to exemplify their own ideals.
Is the college admissions essay (CAE) a useful tool for understanding ongoing transformations in literature, academia, and publishing?
One novelist spotlights an object, feeling, or sensation where the relay between past and present, or present and future, becomes visible.
Afropantheology seeks the freedom of the artist to express stories unbridled by Western labels and terminologies and the need for conformity to defined (often limited) literary standards.
“Many people who call themselves very patriotic, even nationalist, leave [Ukraine], while the people who are actually protecting it are the common people.”
“Why do we want our characters to be innocent, as if we are innocent ourselves?”
Rushdie’s fifteenth novel casts doubt on the very production of historical knowledge.
“There came a point in my life … where I realized that almost every narrative, whatever it came from, that dealt with an African country was pretty much a rewriting of ‘Heart of Darkness.’”
Clark’s poetry collection questions how those excluded from spoken conversation devise new avenues for transmission.
In this latest episode of the Writing Latinos podcast, we talk about machismo, cockfighting, reconciling with parents, the Pulse nightclub shooting, bilingualism in contemporary literature, and the “messiness” of latinidad.
“I was exorcising, if not the anxiety of influence, then the accusations of the anxiety of influence, and also issuing somewhat of a corrective.”
“I hope people will see the heartbreak of a little kid having to grow up and say goodbye to his childhood in order to survive.”
“Oreo” is not the easiest read, but it is a book that is, in many ways, written against ease.
Britain’s “Second City” profited from shipbuilding and the slave trade, but has slowly declined for decades. What should Glasgow’s future hold?
A fundamental truth about bestseller lists? They are not a neutral window into what the public is really reading.
Industry is already using data to remake culture. To reverse the tide—to make culture more equitable—we need to decode that data for ourselves.
Does loving a work of literature mean seizing it? How should critics feel about their feelings toward a text?
Lamming never lets readers forget that within that one man—as within all of us—is a boiling multitude.