What are some of the best resources to find Native writers and their works? Who are some Natives you read?LLG: It is quite a challenge for almost all Native writers to get their work out there, and it is a sad thing that so many are un- or under-recognized. Here are some (and only some) whose fiction/prose/poetry work I admire: Geary Hobson, LeAnne Howe, Susan Power, Louise Erdrich, Eric Gansworth, Heid Erdrich, Kim Blaeser, David Treuer, Stephen Graham Jones, Erika Wurth, and Diane Glancy.
Check out her latest release: The Sky Watched: Poems of Ojibwe Lives.
Read the whole, brief interview here.
Today’s nonfiction writers have at hand a number of forms other than the essay and the memoir. There’s the flash essay, of course, and literary journalism. Then there’s the catch-all form of nonfiction known as the lyric essay. So, what do they all mean?
It’s easy to find an anthology on the flash form, possibly because Dinty W. Moore made the form famous in Brevity. He also edited the Rose Metal Press Guide to Writing Flash Nonfiction, an anthology that contains a rather academic intro to discuss the flash essay, several examples of it by Nicole Walker, the late Judith Kitchen (likely the quintessential expert on the form and its biggest champion), and many others. These writers also offer writing prompts or assignments that let writers start off with a bang.
David Shields and Elizabeth Cooperman have compiled another anthology of short essays called Life Is Short— Art Is Shorter. The book claims to be a “rally for compression, concise, and velocity.” It begins a chaotic mess potentially intended to be a collage essay masking as an introduction by Shields. The rest, however, is another worthy collection of examples of the flash essay and prose poems. They’re gathered into sections called “Object,” “Prose Poem,” “Image Becomes Metaphor.” There are also sections that demonstrate the collage essay, trick stories, and criticism as autobiography as written by the likes of Lauren Slater, Lydia Davis, and Anne Lamott.
Check out the full post, including more examples of alternatives and places to find these forms.
Michele Morano’s essay collection, Grammar Lessons: Translating a Life in Spain, a book of thirteen essays, is divided into three sections. The first concerns her year of living in Oviedo, teaching English and recovering from a consumptive relationship with a man she left back in the States. In the second section she writes about subsequent trips to Spain, trying to recapture some of the initial spark of travel yet it digs deeper into her first trip. The third section contains post-travel essays.
Morano writes about the fun and frivolities of language as only writers know. She is immersed in language as a student of Spanish and an English teacher.
“I am hungry, we say in English,” she writes in “Having Hunger,” an essay about language, passion, and hunger. “But in Spanish one uses a noun, as if naming a possession, a visitation, a tide of physical yearning. Tengo hambre: I have hunger.”
This essay’s intro showcases Morano’s deft ability to create a subtle double entendre. Yet again it contains those qualities of universality in which we witness our own hunger for routine, people, familiarity, touch, spontaneity, sex, and, food.
Read the original post on Ploughshares.
Check out this year-round calendar of contests to consider for nonfiction. If you know of others with a cash prize of at least $1000, let us know.
Part anthropological, part historical, Githa Hariharan’s writing takes readers across the globe, through history, and into dense political arenas. Her novels and nonfiction marry experience and intellect in sometimes biting, often lyrical prose. Whether she’s reshaping Shahrzad and The Arabian Nights or shedding light on censorship and fundamentalism, Hariharan’s stories are often led by femme fatales with political prowess. The promise of a bumpy ride continues in her memoir/travelogue, Almost Home: Finding a Place in the World from Kashmir to New York, published earlier this year by Restless Books.
A collection of essays, Almost Home is a wonderland of hybrid techniques. It contains post-colonial insight that goes beyond India and keeps readers coming back for more—more labyrinthine story lines, more social commentary, more pro-woman eroticism. Hariharan’s other popular titles include In Times of Siege, an exploration of religious censorship in literature and education in today’s India; When Dreams Travel, a work of haunting historical fiction with femme fatale protagonists; and Fugitive Histories, in which she explores social issues in modern India without catering to Western expectations.
Having broken a knee and ankle in an accident in Manhattan, she cut short a recent press trip for the U.S. release of Almost Home. We caught up while she was recuperating—and conducting activist duties—from her Delhi bed. Some of the topics up for grabs? Nationalism vs. patriotism, how far behind the US lags in international literature, and the American Presidential campaign.
Read the interview here in Ploughshares.