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In her Sorted Books project, Nina Katchadourian arranges books from libraries—including William S. Burroughs’s personal collection, as well as those housed in museums and galleries across the country, to find a kind of poetry in the spines.
“My work is a lifelong celebration of futility.” Artist Roman Muradov, designer of this issue’s cover, discusses his various wells of inspiration, his relationship to the written word, and the importance of doing nothing.
A writer and editor shares her thoughts, as well as lessons learned from authors such as Junot Díaz, Jhumpa Lahiri, and Celeste Ng, on writing of and from a culture that may be foreign to the reader: what do we explain, italicize, or translate? How do we navigate the divide between the ethnicity of a writer or character and that of her audience?
A case for balancing action with introspection in fiction, in order to avoid “gumming up the gears of your story.”
What comes first—the human or the writer? David Shields and Caleb Powell discuss the origins and collaborative process behind the four-day argument about life and art that became their new book (and film), I Think You’re Totally Wrong: A Quarrel.
While at a ten-day silent meditation retreat, a writer reluctantly puts away her pen, choosing instead to fully inhabit herself and her experience.
A songwriter responds to literature—such as stories by Jonathan Lethem and George Saunders—with music, carrying the creative conversation across art forms.
A writer learns that letting go of the need for perfectionism and allowing the creative impulse to guide the mind fluidly and freely can revitalize the practice of writing.
Writers take bookmaking into their own hands at Portland, Oregon’s Independent Publishing Resource Center.
