March/April 2017 
A Conversation on Craft with Ursula K. Le Guin
David Naimon
When steering one’s craft these days, nobody quite knows where they’re going, including the publishers.
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Words on a Journey: W.S. Merwin
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A Symposium By David Baker, Meghan O’Rourke, Rosanna Warren, & Stanley Plumly
Merwin’s work of the 1960s is a purposeful casting aside of his own academic, traditionalist poetry. Step by step he unwrites himself.
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I Always Wanted a BIG Life: An Interview with Denise Duhamel
William Walsh
I think it is really hard to write about politics convincingly. The Beat Poets were extremely personal and able to contextualize their lives with what was happening at the moment.
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Art of the Extreme
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Nick Flynn & Beth Bachmann
What’s the name for this? Ineffable: something too great or extreme to be expressed in words. Suicide, murder, torture, terror, humor, evolution, sentience, feeling, love?
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Surprise Me
Debra Spark
If your day job involves any of the many compromises people make to earn a living, the idea of reading fiction for employment must sound pretty appealing.
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The Art of Leaving Out: Teaching Erasure Poetry
Sharon Dolin
Why do I admire the making of something from something else: the recycling of creativity into a different creativity? Is it the same kind of pleasure I derive from finding new uses for old things?
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Storytelling as Inquiry: Creative Nonfiction & the Art of Narrative
Lee Martin
We write from a need to know; we want to figure out what we think, what we feel, what something means. Sometimes we work with narrative; at other times we rely on a lyric form, one that features fragmentation, association, contemplation, juxtaposition, wordplay.
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