March/April 2012 
A Conversation with Biographer Penelope Niven
Sheryl Monks
Challenges probably come down to the fact that it truly is an act of audacity, at one level, to write a biography, to endeavor to write about someone else's life.
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The Geography of Sentences
Emily Brisse
It's no wonder that a garbled sentence feels ungainly and confusing to a reader. Reading it would be something
like a child navigating her way through a dense forest...
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The Postmodern Memoir
Hugh Ryan
As the children raised in this chaotic literary moment begin to write their memoirs, it is not surprising that they are looking to recreate this sense of confusion.
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A Sexy New Animal: The DNA of the Prose Poem
Natasha Sajé
He had been writing a prose poem, and had succeeded in mating a giraffe with an elephant. Scientists from all over the world came to see the product: The body looked like an elephant's, but it had the neck of a giraffe with a small elephant's head and a short trunk that wiggled like a wet noodle.
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Cather's World & the Future of Narrative
Douglas Bauer
Only now that the class has ended have I begun to recognize a curious contradiction between my students' appreciation for Cather's splendid, multi-purpose landscapes and the habits these same students bring to their moment-to-moment lives.
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An Interview with Paul Harding
Varley O'Connor
I find that I have a natural inclination for pushing the boundaries between poetry and prose. Or maybe more exactly, I deliberately reject boundaries because I think of them as largely theoretical, as demarcations, which, if they must be assigned to works of art, should be assigned subsequent to their creations.
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