From Letters of Note:
I have seen an untoward amount of picture galleries and 15¢ movies lately, and could review them with my old prosperous detachment, I think; in fact, I recently coined a general word for Matisse’s pictures after seeing his latest at the Marie Harriman: concubineapple. That shows you how my mind works — quick, and away from the point. I read simply voraciously, and can drum up an opinion afterwards.
Read the full here.
Excerpt from the New Yorker’s Page-Turner:
I don’t think it’s a case of my writing inspiring my fabric designs; it’s that both my writing and my designs are fuelled by the same passions and obsessions of mine. I work a lot from historical illustrations and photos. Sometimes I change the original images significantly, sometimes not.
Read/see the full here.
Excerpt from The Rumpus:
What I’ve come to realize, thanks to VIDA and the Count, is that my feminist convictions do not make up for the low number of books by women I’ve reviewed. Not yet. Good intentions are not enough. It’s people like me, people aware of the persistent sexism of our society, who need to do a better job of promoting books by women. To ignore the gender disparity in publishing is to perpetuate it. I can’t do that any longer. Instead, I will continue to champion all of the books I love in every way I can—only now I will do so with a clearer understanding of just how far we still have to go in building the literary community that we all deserve.
Read the full response here.
Read the VIDA Count 2012.
Read/view the full here.
Excerpt from the Chicago Tribune:
Our digital devices are interruption machines, not vehicles for intense connection. If anything, short stories endure despite these obstacles.Reading a great story is like being put under a short but intense spell — a sensation I treasure. But if people were really after something quickly read and genuinely felt, we’d be in the midst of a poetry boom.
For the full, read here.
Excerpt from LA Review of Books:
Gregerson loves the pun-ish potential of language, the way the entangled accidents of time, circumstance, want, and will make meaning possible, and she frequently builds a poem around the unlikely marriages a single word makes. If the characteristic unit of much poetry is metaphor — the discovery of underlying likeness in seemingly unlike things — Gregerson is just as likely to turn that on its head, rhyming essentially unlike things based on surface likenesses. It’s a model of the ways in which she seems to love the world: not for what it hides but what it shows.
Gregerson has made the activity of her thinking into the driving force behind the language she uses, writing after clarity rather than for heft.
Read the full here.
Interview excerpt From Design Matters:
I’m not as interested in the stories where they find each other as I am in the unfinished stories, the sort of electricity of that moment. It’s pretty riveting.
Read the Brain Pickings blogpost on Sophie Blackall here.