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Dismantling the Patriarchy by Reclaiming Her Voice
Elissa Bassist reflects on how women’s voices get silenced & reborn, the eleven years it took to write her memoir, and how she wrote like a mother#^@%*&Issue 78
Leslie Jamison on the usefulness of cliché
“When experiences are common—universal, even—you can still find language for them that illuminates them in a new way”Issue 75
Sheri Fink on blending science and narrative
"I feel like I bring that same investigative approach that I did to the lab to investigative journalism."Issue 75
Cheryl Strayed & Elissa Bassist on how they measure success
“Humility is about moving forward, doing the work, seeing what comes after you put the time in”Issue 75
Erik Larson on the joys of digging through archives
"You never know what you’re going to find in the next folder."Issue 75
Patricia Hampl on what makes a memoirist
“My fundamental instinct remains a sense of wonder, a luminous amazement at existence”Issue 75
Elizabeth Kolbert on the terror of being at the mercy of events
“Telling people what to do is beyond my purview. My obligation is to report on what is”Issue 75
Dave Eggers on the importance of talking to strangers
"I interview the driver every time I get in a taxi, and it always yields interesting results"Issue 75
Interview with Michael Stephens
Michael Stephens’ essay about his old writing teacher, Seymour Krim, developed from a series of notes he was making about two separate topics: Seymour Krim, and the genre of creative nonfiction.Issue 02
Another interview with Donald Morrill
While in China, poet Donald Morrill kept travel journals, “not really certain what I was going to do with them,” he says. He thought he would use them to write poems, and later did.Issue 02