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Harvard professor Stephanie Burt on becoming co-poetry editor at "The Nation"

"Dwelling poetically": An interview with Anna Key, part two

The second half of Aleteia's interview with the author of 'After Colonna,' about what it means to live a life of beauty

Leavings Just Source

Leavings Just Source Indians on Vacation by Thomas King Literatures, Communities, and Learning: Conversations with Indigenous Writers by Aubrey Hanson Sarah Dowling Sonnet L Abbé If the past, as L. P. Hartley writes, is a foreign country, and if literary traditions and inherited forms are ways to consider the past, it follows that literary traditions—Shakespeare’s sonnets, say, or Sappho’s lyric—are themselves another country. We can try to map it, to learn how it felt to live there, or construct new lands in the shape of the old, a New World literature in Old World forms: sonnets themselves, and other old forms, are themselves ways to map the present onto the past. We can also—as both Sonnet L’Abbé and Sarah Dowling do—push back against the erasures, the injustices, the oppressions that come to us along with that past: working against it even as we acknowledge it as part of our literary selves.