Ever idiosyncratic, Fence evades the tedium of the decade with this anthology, co-edited by all thirteen of Fence's editors, past and present, including founding editor Rebecca Wolff and current coeditor Charles Valle; fiction edits Jonathan Lethem, Ben Marcus, and Lynne Tillman; poetry editors Caroline Crumpacker, Anthony Hawley, Katy Lederer, Matthew Rohrer, Christopher Stackhouse, and Max Winter; and nonfiction editors Frances Richard and Jazon Zuzga. In addition to presenting a stunningly eclectic compendium of poetry, short fiction, criticism, and creative nonfiction, much of it by younger writers who appeared in Fence at the beginning of careers that went on to be dazzling, this volume includes reflective essays by editors on their experiences with selected texts, with authors, with the magazine as a collective, and with their own editorial identities, and serves as an indispensable record of the inception and continuation of one of the most influential literary journals of its time.
A historical document so significant it requires two volumes. Fence evades the tedium of the decade with this anthology, co-edited by eleven editors, past and present, including founder, Rebecca Wolff; fiction editors, Jonathan Lethem, Ben Marcus, and Lynne Tillman; poetry editors, Caroline Crumpacker, Katy Lederer, Matthew Rohrer, Christopher Stackhouse, and Max Winter; and nonfiction editors, Frances Richard and Jason Zuzga. In addition to presenting a stunningly eclectic compendium of poetry, short fiction, criticism, and creative nonfiction, much of it by writers who appeared in Fence at the beginning of careers that went on to be dazzling, these volumes include reflective essays by editors on their experiences with selected texts, with authors, with the magazine as a collective, and with their own editorial identities, and serves as an indispensable record of the inception and continuation of one of the most influential literary journals of its time.
Ever idiosyncratic, Fence evades the tedium of the decade with this anthology, co-edited by eleven of Fence's editors past and present, including founding editor Rebecca Wolff ; fiction editors Jonathan Lethem, Ben Marcus, and Lynne Tillman; poetry editors Caroline Crumpacker, Katy Lederer, Matt hew Rohrer, Christopher Stackhouse, and Max Winter; and nonfiction editors Frances Richard and Jason Zuzga. In addition to presenting a stunningly eclectic compendium of poetry, short fiction, criticism, and creative nonfiction, much of it by younger writers who appeared in Fence at the beginning of careers that went on to be dazzling, this volume includes refl ective essays by editors on their experiences with selected texts, with authors, with the magazine as a collective, and with their own editorial identities, and serves as an indispensable record of the inception and continuation of one of the most infl uential literary journals of its time.
Ever idiosyncratic, Fence evades the tedium of the decade with this anthology, co-edited by all thirteen of Fence's editors, past and present, including founding editor Rebecca Wolff and current coeditor Charles Valle; fiction edits Jonathan Lethem, Ben Marcus, and Lynne Tillman; poetry editors Caroline Crumpacker, Anthony Hawley, Katy Lederer, Matthew Rohrer, Christopher Stackhouse, and Max Winter; and nonfiction editors Frances Richard and Jazon Zuzga. In addition to presenting a stunningly eclectic compendium of poetry, short fiction, criticism, and creative nonfiction, much of it by younger writers who appeared in Fence at the beginning of careers that went on to be dazzling, this volume includes reflective essays by editors on their experiences with selected texts, with authors, with the magazine as a collective, and with their own editorial identities, and serves as an indispensable record of the inception and continuation of one of the most influential literary journals of its time.
"Nicholas, the illegitimate son of a retired fencing champion, is a scrappy fencing wunderkind, and dreams of getting the chance and the training to actually compete. Through clashes, rivalries, and romance between teammates, Nicholas and the boys of Kings Row will discover there's much more to fencing than just foils and lunges"--Page [4] of cover.
"Nice Hat. Thanks." is an innovative book based on the recorded improvised poetic collaborations between two award-winning poets, Joshua Beckman and Matthew Rohrer. "Nice Hat. Thanks. "is a collection of transcriptions of these collaborations, with poems ranging from a few words to several pages.
There are many ways to show our devotion to an author besides reading his or her works. Graves make for popular pilgrimage sites, but far more popular are writers' house museums. What is it we hope to accomplish by trekking to the home of a dead author? We may go in search of the point of inspiration, eager to stand on the very spot where our favorite literary characters first came to life—and find ourselves instead in the house where the author himself was conceived, or where she drew her last breath. Perhaps it is a place through which our writer passed only briefly, or maybe it really was a longtime home—now thoroughly remade as a decorator's show-house. In A Skeptic's Guide to Writers' Houses Anne Trubek takes a vexed, often funny, and always thoughtful tour of a goodly number of house museums across the nation. In Key West she visits the shamelessly ersatz shrine to a hard-living Ernest Hemingway, while meditating on his lost Cuban farm and the sterile Idaho house in which he committed suicide. In Hannibal, Missouri, she walks the fuzzy line between fact and fiction, as she visits the home of the young Samuel Clemens—and the purported haunts of Tom Sawyer, Becky Thatcher, and Injun' Joe. She hits literary pay-dirt in Concord, Massachusetts, the nineteenth-century mecca that gave home to Hawthorne, Emerson, and Thoreau—and yet could not accommodate a surprisingly complex Louisa May Alcott. She takes us along the trail of residences that Edgar Allan Poe left behind in the wake of his many failures and to the burned-out shell of a California house with which Jack London staked his claim on posterity. In Dayton, Ohio, a charismatic guide brings Paul Laurence Dunbar to compelling life for those few visitors willing to listen; in Cleveland, Trubek finds a moving remembrance of Charles Chesnutt in a house that no longer stands. Why is it that we visit writers' houses? Although admittedly skeptical about the stories these buildings tell us about their former inhabitants, Anne Trubek carries us along as she falls at least a little bit in love with each stop on her itinerary and finds in each some truth about literature, history, and contemporary America.
Now a major motion picture from Luca Guadagnino starring Taylor Russell, Timothée Chalamet and Mark Rylance, screenplay by David Kajganich! Maren Yearly is a young woman who wants the same things we all do. She wants to be someone people admire and respect. She wants to be loved. But her secret, shameful needs have forced her into exile. She hates herself for the bad thing she does, for what it's done to her family and her sense of identity, for how it dictates her place in the world and how people see her--how they judge her. She didn't choose to be this way. Because Maren Yearly doesn't just break hearts, she devours them. Ever since her mother found Penny Wilson's eardrum in her mouth when Maren was just two years old, she knew life would never be normal for either of them. Love may come in many shapes and sizes, but for Maren, it always ends the same--with her hiding the evidence and her mother packing up the car. But when her mother abandons her the day after her sixteenth birthday, Maren goes looking for the father she has never known, and finds much more than she bargained for along the way. Faced with a world of fellow eaters, potential enemies, and the prospect of love, Maren realizes she isn't only looking for her father, she's looking for herself.
"One of the most interesting gatherings of material that any poet has published within living memory." --The Economist Simone Weil described “decreation” as “undoing the creature in us” -- an undoing of self. In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing. "Cool, resolute, smart, and lovely.... Carson has emerged in the last two decades as a kind of prophet of the unknowable." --The Village Voice
