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Melville House wonders when publishers will speak out about Amazon; New York City's Algonquin Hotel announced that when it reopens this spring after a renovation, the famed Oak Room will be gone; E. B. White answers a charge levied by the ASPCA; and more
Nobel prize-winning poet Wislawa Szymborska, as well as Surrealist artist and poet Dorothea Tanning, passed away yesterday in their respective countries; novelist Paul Auster has engaged in a war of words with Tayyip Erdogan, the prime minister of Turkey; Open Letters Monthly examines the hidden life of Virginia Woolf's institutionalized half-sister, Laura Makepeace Stephen; and other news.
Having chronicled her husband’s sudden death in The Year of Magical Thinking, Joan Didion returns to the subject of loss in a new memoir, Blue Nights, about the subsequent passing of her daughter.
With so many good books being published every month, some literary titles worth exploring can get lost in the stacks. Page One offers the first lines of a dozen recently released books, including Dan Chiasson's Where's the Moon, There's the Moon and Monika Fagerholm's The American Girl, as the starting point for a closer look at these new and noteworthy titles.
With so many good books being published every month, some literary titles worth exploring can get lost in the stacks. Page One offers the first lines of a dozen recently released books, including Atiq Rahimi's The Patience Stone and Catie Rosemurgy's The Stranger Manual, as the starting point for a closer look at these new and noteworthy titles.
Phillip Lopate, considered by many to be one of the most important essayists of our time, discusses the controversies surrounding creative nonfiction, his own essay-writing process, and the ultimate quality he looks for in nonfiction—an interesting mind at work on the page.
The origin and form of Mayhill Fowler’s Huffington Post report on Barack Obama’s use of the word “bitter” suggest her work is neither blogging nor journalism, but creative nonfiction. That its effect was out of proportion with its intention begs the question: What can the creative nonfiction writer expect in the Information Age?
Greg Bottoms has demonstrated that the truth is rarely black and white in all three of his books of creative nonfiction, but never more vibrantly than in his latest, The Colorful Apocalypse.
