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From the stage to the page, our authors are among the best and most innovative poets working today. Check out Books, Ebooks, Audiobooks, Merch, and more!

thecolumbiareview.org

The Columbia Review, founded in 1815, is the nation's oldest college literary magazine. The Review is published in the spring and fall semesters by a team of undergraduates from Columbia University. Issues are available online and in print.

beavermag.org

Questions by Shallom Johnson, Art Editor Tell me a bit about your life as an artist. What does your daily creative practice look like? Sometimes I deal with a lot of new ideas, trying new technique…

peachmgzn.com

This month, Sebastian invites Nick Farriella to tell us about his favorite books. Nick is the author of Rules for Escaping: Stories, out now from word west press. Below are his favorite books.***A list of favorite books will always be incomplete. It feels impossible to narrow down the books and authors who influenced me without having to leave some out. So, to side-step this, I’m going to make two lists. (Sorry Peach.) One is just a list of authors themselves who influenced me, of authors who pr

essentialdrama.com

[give_form id=769 display_style=button continue_button_title=Suggested Donation £2] Bertrand Lesca is a theatre maker from France. After studying at Warwick University, he went on to assist Peter Brook and Declan Donnellan on several international tours. Bertrand currently works with Nasi Voutsas (Bert and Nasi) with whom he co-created the trilogy EUROHOUSE, PALMYRA and ONE. The Game Bertrand Lesca and Nasi Voutsas in Palmyra. Photo by Alex Brenner PC: How do you go about communicating your approach to theatre to young people during your week-long workshops? BL: I think we work with young people in a slightly different way. We’re not necessarily interested in the politics as much - not because we don’t trust that they’ll understand it - instead we want to give them a sense of what performance can be. We work towards getting them to a place where they no longer ‘perform’. It takes a little bit of time for them to understand that. We try to make them say things as they would say it, so that we get to see them as people on stage without them putting on a role. It takes a little while, but once they get it, they really feel empowered because they can just be themselves and say things as they would to their friends and that’s acceptable on the stage. By the end of the week, when they’ve made a show, we hope that they can be the best of themselves by just doing what they always do, talking like they always talk. It’s just a case of them understanding what the situation is and what the game is. Once they understand what the game is, we don’t care what sort of script they’re following, as long as they’re in tune with their partners, with the audience, the situation and the game. We try and teach them that making theatre has to start from them: who they are and what they think. [give_form id=769 display_style=onpage]

mudroommag.com

An interview with Kristen Sze-Tu

literarymatters.org

In his essay “The Mechanical Muse,” T.R. Hummer writes, “[T]he poet is considered the musician of writers — which means that, however inexpressible the relation may be, the poet’s job is to reassemble what so often presents itself as a broken primal unity.” Music is an indelible through-line in Hummer’s poetry and prose, so it

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goodreads.com

Discover and share books you love on Goodreads, the world's largest site for readers and book recommendations!