Tired of assigning that regular ol’ book report? Take queues from the New York Times “Lesson Plan” on how to go beyond.
Recommended Reading: On lyric essays and trauma at Ploughshares. “I didn’t start writing lyric essays until I found out I had cancer. The melanoma buried in my right cheek was at first missed, and then misdiagnosed in its severity. Clark’s stage IV, they told me. Likely in my lymph nodes, but they wouldn’t know until my third surgery, the excision and biopsy.”
Over at Words Without Borders, Esther Allen considers how to translate a song. As she puts it, “A song that almost everyone in a given culture at a given moment knows is a unique cultural artifact, a crystallized collective experience, a profound trigger that sets off a complex string of shared emotions.” Pair with Magdalena Edwards’s Millions essay on songs as triggers.
“After ten years of painting, that is to say ten years of using an abstract, invented language, writing stories was the closest I had come to working in the realm of ‘realism.’ It was the most direct I had ever been in my art. Perhaps the most direct I had ever been. But, as I learned from the comments of my peers in workshop (‘this isn’t a story,’ ‘this is poetry,’ ‘what is this’), my writing was something other than what we referred to as literary realism. By which I mean, the writing many have come to believe most accurately represents life.” Susan Steinberg asks what happened to American experimental writing.
What happens when a writer inserts a ghost or monster into a story? At Berfrois, Alexander Stachniak argues that much of our current literature about the uncanny fails to help writers looking to answer this question. (Related: Steve Himmer on his monstrous Mary Poppins dreams.)