Christine Imperial

Mar 1, 2024 | kenyonreview.org | Eliza I. Gilbert |Christine Imperial |Peter Kazon

After the fire it rains dandelions and we wear the fall like coats of paint on some small immortal toolshed. The game is this: You are a snake charmer. I am a pine cone. No tag-backs. Our father knows Latin but forgets that a burnt tongue is a temporary death sentence. So we stay outside. In the game.

Mar 1, 2024 | kenyonreview.org | Emily Elaine Doyle |Christine Imperial |Peter Kazon

Emily Doyle’s work has appeared or is forthcoming in Ploughshares (spring 2024), The Sun (winter 2023), Epiphany (winter 2023), and elsewhere. Doyle was a finalist in the Ploughshares Emerging Writer’s Contest and for the American Short(er) Fiction Prize and has received numerous awards and fellowships, including the Bread Loaf–Rona Jaffe Foundation Participation Scholarship and the Abraham Lincoln Polonsky Endowed Award.

May 15, 2023 | pw.org | Christine Imperial

In our Craft Capsules series, authors reveal the personal and particular ways they approach the art of writing. This is no. 165. In February 1899, Rudyard Kipling’s imperialist poem “The White Man’s Burden” was published in The Times, a British newspaper.

May 8, 2023 | pw.org | Christine Imperial

In our Craft Capsules series, authors reveal the personal and particular ways they approach the art of writing. This is no. 164. In her essay “The Other History of Intercultural Performance,” Cuban-American interdisciplinary artist Coco Fusco writes that ethnographic displays of non-Western peoples have historically depicted their cultures inaccurately, serving as performances in which the Other fulfilled the role of the savage as directed by the fantasies and desires of the colonizer.

May 1, 2023 | pw.org | Christine Imperial

In our Craft Capsules series, authors reveal the personal and particular ways they approach the art of writing. This is no. 163. When I hit a wall in my writing—poetry, prose, or hybrid work—I realize that the approach I’m taking needs to be disrupted. Instead of pushing against the wall, I must break it down, dismantle the structure, and rearrange it. I become reenergized by the process of rearrangement via disarrangements of the intended or expected sequence of words, images, and sounds.