There are cameras in the cacti, drones in the sky, motion sensors buried in the ground: a Panopticon without limit or form.
As Smarsh unfolds her family's story, she offers sharp commentary on the structures that both shame the poor and perpetuate the cycle of poverty.
The book’s final line is a warning as much as an entreaty: “Don’t ever let them talk you out of being mad again.”
Injuries accreted. Bones were broken. And yet, I always recovered. Until I did not.
Matthew Komatsu traces the changing sense of veteran identity in the United States, from Vietnam to Afghanistan and Iraq.
In this interview, Chelsea Hodson, author of Tonight I'm Someone Else, speaks about writing from the self and interrogating ideas.
Inger Christensen’s poetic hypothesis houses the intimacy between an arrangement of the poem and content to curate layered meaning.
John McPhee reflects on the panic, procrastination, and prolific output behind his celebrated approach to nonfiction writing.
Pittsburgh is a blue city nestled in the red part of a purple state. A political bruise.
If good creative writing sparks the instinct to write, The Shell Game provides ample embers to inspire a wide range of writers.
Constantly shifting my interests trying to mirror those of the men, I no longer knew who I was without pretending or playing games.
In her new collection, Rebecca Solnit bravely tackles the American crises that imperil our humanity as well as our survival.