Suspend Your Disbelief

Posts Tagged ‘poetry for prosers’

Shop Talk |

A Story Sung: Why Fiction Writers Should Read Poetry

Any writer who desires to get at the truth of human experience should read poetry, because it contains a multitude of possibility. Poetry is the mud that grows the seed that becomes the forest. It is the clay that makes the brick that forms the building. It is the blood that moves the body that holds the spirit. Poetry has the essence of life in it. Poets voice that which has no voice in this world. They speak in tongues, and hope their words reach the ears and touch the hearts of those who know what it means to live. […]


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Book-of-the-Week Winners: The Cineaste

Last week’s feature was Van Jordan’s new book of poetry, The Cineaste, and we’re pleased to announce the winners: Glenn H. Myers (@glennhmyers) Doug Lawson (@douglawson) Stacy Faulk (@kiokokitten) Congrats! To claim your free copy, please email us at the following address: winners [at] fictionwritersreview.com If you’d like to be eligible for future giveaways, please visit our Twitter Page and “follow” us! Thanks to all of you who are fans. We appreciate your support. Let us know your favorite new books out there!


Shop Talk |

Book of the Week: The Cineaste, by A. Van Jordan

This week’s feature is A. Van Jordan’s new book of poetry, The Cineaste, which was just published by W.W. Norton. The book merges the form and content of an obsession, film, to produce poems tracking the inner lives of movie viewers, the career of early black filmmaker Oscar Micheaux, the story of the Leo Frank trial, and the disturbing racial history of the American film industry. Jordan’s first book of poetry, Rise (Tia Chucha Press, 2001), tracks not only the history of African American music, but also the music of Jordan’s life growing up in Ohio. His second book, M-A-C-N-O-L-I-A […]


Interviews |

Don't Take Yourself Too Seriously: An Interview with Scott Nadelson

In conversation with Julie Judkins, author Scott Nadelson discusses how the “mad mystic hammering” of Bob Dylan inspired him to become a writer, why being a formerly reluctant reader informs his teaching, and how New Jersey has evolved in his fiction from an actual place to a state of being.


Essays |

[POETRY FOR PROSERS] "We have poets? Do they wear capes?": A sort-of review of David Orr’s Beautiful and Pointless (and some meditations on poets and poetry)

Why did I feel such hope when I first heard about David Orr’s new book, Beautiful and Pointless: A Guide to Modern Poetry? I’ve read my share of poetry guides, and most of them have taken up residence in a particularly dusty neighborhood on my poetry bookshelf. But Orr’s book had a title that pretty much summed up my own weary but hopeful sentiments about contemporary poetry.


Reviews |

[Poetry for Prosers] Recommended Reads from 2010

Fiction writers are sometimes the first to prostrate themselves and say they don’t get poetry, but these five recommendations have been hand-picked for prosers: Post Moxie by Julia Story, Thin Kimono by Michael Earl Craig, Noose and Hook by Lynn Emanuel, The Madeleine Poems by Paul Legault, and American Fanatics by Dorothy Barresi.


Shop Talk |

Thursday morning candy: Ploughshares

In a landscape crowded with brand-new literary mags – which are always exciting to FWR – we want to give a shout out to an old stalwart: Ploughshares. Started in Cambridge, Massachusetts in 1971, Ploughshares has called Emerson College home for the past two decades. Several Fiction Writers Review contributors have had work appear in the magazine, including Valerie Laken and brand new Contributing Editor Travis Holland. One of my favorite aspects of Ploughshares is that every issue is edited by a different guest editor, who shapes the theme and selects pieces with his or her own particular aesthetic. Past […]


Essays |

The Seamless Skin: Translation’s Halting Flow

Jennifer Solheim weaves the story of her decade-long translation of Yolaine Simha’s I Saw You on the Street into a meditation on the nature of the translator’s labor. Solheim looks at history, politics, time and rereading to parse how “translation can become a snake biting its own tail: the translator as writer and reader is simultaneously subsumed and resurrected by the text in the original.”




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