Michael Kimball wants to save you $50,000 dollars on an MFA – by sharing what’s he taught himself. Interested in reading more from someone without a traditional writing degree? Our own Hannah Gersen explains “The Value of Writing Programs: On Why I Don’t Have an MFA.”
“I wanted to be able to approach the subject from many different angles, not just the one most people think of when they think of war: an infantryman with a rifle killing the enemy. What does one make of one’s moral responsibility for killing when you’re part of a crew-fired-weapon whose rounds strike miles away, when you’re not even sure if you have killed people or how many? What about when you’re a chaplain trying to influence policy, or a psychological operations soldier trying to help shape the battlefield?” Phil Klay, author of the National Book Award-winning collection Redeployment, on modes of storytelling and on the psychological difference between citizens and veterans.
“How is it possible that a smallish army of discerning readers agree that Jim Harrison is one of the few truly great living American writers, yet he has not gotten the wider audience—or the widespread praise—he so plainly deserves?” Our own Bill Morris has some theories.
“Your opponents would love you to believe that it’s hopeless, that you have no power, that there’s no reason to act, that you can’t win. Hope is a gift you don’t have to surrender, a power you don’t have to throw away.” This seems a better time than most to revisit Rebecca Solnit‘s Hope in the Dark, an excerpt of which ran in The Guardian earlier this year. You can also read our review of Solnit’s The Faraway Nearby here.