Their entry begins:
I just finished reading Ruth Ozeki’s enchanting debut collection of short stories, The Typing Lady—a collection that is about, among other things, writers and readers, memory, and loss. In the closing lines of the eponymously titled opening story, “The Typing Lady,” Ozeki writes: “Stories are like that. They are collaborations between people who read and people who type. They are how we co-create each other and dream ourselves into being.” These are stories in which characters counter profound loss through intense curiosity and engagement—tracing the narrative threads of their lives backwards into past memories, as well as intrepidly turning the pages forward into surprisingly quirky, or unexpected moments. Ozeki seems to suggest that curiosity and attentiveness are how...[read on]About The Rose Metal Press Field Guide to Writing the Lyric Essay, from the publisher:
FEATURING ESSAYS FROM: Chelsea Biondolillo • KJ Cerankowski • Ching-In Chen • Oliver de la Paz • Danielle Cadena Deulen • Camille T. Dungy • Jeannine Hall Gailey • Rigoberto González • torrin a. greathouse • Kimiko Hahn • Lily Hoàng • Michael Kleber-Diggs • Rowan McCandless • Sarah Minor • Rajiv Mohabir • Vi Khi Nào • Aimee Nezhukumatathil • Natanya Ann Pulley • Diane Seuss • Sun Yung Shin • Brian Turner • Katrina Vandenberg • Julie Marie Wade • chaun webster • The Cyborg Jillian Weise • Marco WilkinsonVisit Lee Horikoshi Roripaugh's website, and learn more about the book at the publisher's website.
The fifth volume in the immensely popular Field Guide series, The Rose Metal Press Field Guide to Writing the Lyric Essay gives readers an extraordinarywindow into the methods of 26 expert practitioners at the leading edge of this ever-evolving genre.
With original craft essays, exercises, and examples, each contributor offers reflection and instruction on how lyric essays can be constructed and what makes them unique. As experts in the field, they offer their various approaches to creative nonfiction that uses an essay form, but is lyric in function, meaning that it pays special attention to patterning in language and the resonances of sound and imagery. The anthology’s expertise spans possible forms (braid, fragment, hermit crab, zuihitsu), lyric techniques (anaphora, fractal repetition, word associations, use of white space), and lyric processes (incorporating research or visual elements, engineering leaps, sustaining a longform lyric essay). Editors Heidi Czerwiec and Lee Horikoshi Roripaugh further illuminate the genre in their introduction, exploring the history of the lyric essay and its vital place in contemporary literature. This field guide is an indispensable addition to the bookshelf of any reader, writer, or instructor intrigued by this inventive and expressive genre.
Writers Read: Lee Horikoshi Roripaugh.
--Marshal Zeringue



















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