Power Plays
“Fiction that recognizes the different forms power can take more accurately mirrors the complexity of life”: Peter Turchi on how power dynamics can and should inform conflict in fiction.
“Fiction that recognizes the different forms power can take more accurately mirrors the complexity of life”: Peter Turchi on how power dynamics can and should inform conflict in fiction.
“. . .these two groups of women are indeed sisters under the skin, and these authors are sisters as well.” Ellen Prentiss Campbell on connecting Nesbit and Otsuka through their use of first-person plural.
Stuart Dybek is often mentioned in the same breath as Saul Bellow, Nelson Algren, Sherwood Andersen—male writers of a certain era who wrote realistic, place-based fiction. And yet when I began reading Dybek, I couldn’t shake the feeing that something different was going on.
“There is an experience it implies, a weary worldliness with which many writers aspire to imbue their characters.”
“What a bitch of a thing prose is!” Gustave Flaubert wrote in a letter to his lover Louise Colet in 1852. “It’s never finished; there’s always something to redo. Yet I think one can give it the consistency of verse. A good sentence in prose should be like a good line in poetry, unchangeable, as rhythmic, as sonorous.” In this essay, contributing editor Travis Holland meditates on Flaubert’s influence and legacy in fiction.
What do the 2011 Japanese Tsunami, the Cuban Missile Crisis and one family’s personal heartbreak have in common? For Ellen Prentiss Campbell the answer lies in Pearl S. Buck’s 1948 young adult novel The Big Wave and the individual acts of creative defiance that help survivors not only carry on, but value life’s beauty more highly because they know it will not last.
Step two: engage. Sozopol coverage continues with Molly Antopol’s conversation with Bulgarian author Miroslav Penkov and Lee Kaplan Romer’s meditation on writing as an act of defiance and grace.
Step One: Leave home. Three fellows from the Sozopol Fiction Seminar consider questions of travel, culture, and translation. Part I: John Struloeff on international diplomacy and collaboration, Jane E. Martin on finding home abroad, and Michael Hinken on how we rediscover home by leaving it. Later this week: Molly Antopol and Lee Romer Kaplan.
Writers are continually told to trim their work down, but is that always the best course of action to follow? Not if you don’t know why.
What happens when a composer falls in love with a David Foster Wallace short story? Eric Moe describes the genesis of his “sit-trag /concert monodrama” Tri-Stan, his correspondence with DFW about the project, the challenges of translating a short story to a one-woman vocal piece, and why “making art is a lot more exciting when big risks are being taken.”
