One wonders indeed how far back we might trace the sources of a family’s anxieties, the original sins of the original fathers, a neurotic first mover.

I’ll be like, “I toured with the Silver Jews and Titus Andronicus! Why didn’t anyone publish my memoir of this scene?” And then my nurse will tell me to settle down.

The doubled reality of one Marianne Moore poem

moore’s own practice of writing FABULOUS extends his project, creating another, more intangible and theoretical, place for these brown, queer, and fabulous lives.

One wonders indeed how far back we might trace the sources of a family’s anxieties, the original sins of the original fathers, a neurotic first mover.

moore’s own practice of writing FABULOUS extends his project, creating another, more intangible and theoretical, place for these brown, queer, and fabulous lives.

We exchange small gods for growing things, and are content.

Are these characters mere wood for the burning furnance of an Auster-enamored author?

I’ll be like, “I toured with the Silver Jews and Titus Andronicus! Why didn’t anyone publish my memoir of this scene?” And then my nurse will tell me to settle down.

Mary Leader says: “A poem is a thing.” By that definition, a poet would be someone who makes things. I think any narrower definition would seem to me needlessly exclusive.

Some people write from life, others from dreams — I write from research

If you want to surpass your childhood you have to pick up Aristotle or Hui Neng and imagine being on a long walk with the speaker, with the attitude of “I will listen.”

The doubled reality of one Marianne Moore poem

In our constant fight to feel accounted for inside the crowd, we shout, we overshare, we reword until others think it sounds beautiful enough to publish—whether we are distilling that experience to its most basic, relatable pieces or pushing the boundaries of how that experience can be shared.

The affinities between New York’s most mercurial lyricists.

We can certainly no longer say that ‘[t]here is no English-language literary community from which to draw some kind of affinity or against which to react’. One just has to go out, be receptive, join a group, and meet and mingle with other like-minded people.

Using the effervescence of creative agency, style, and fabulousness allows marginalized people to empower themselves as a triple act of defiance, confidence, and self-love.

What characterizes the world made by the words of Bruno Schulz?

Foreigners in the West Bank nervously stumble over their words when speaking each other: “So, how long have you been in Palestine, and Israel…or, I mean the area?”

Death is by no means as “hidden” as we might pretend, nor is it the abstract “universal” that is often spoken of in both secular and theological discourse.