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Cleaver Magazine

Fresh-Cut Lit & Art

 
 

Category Archives: The Art of Flash

TELLING TRUE STORIES, taught by Sydney Tammarine | May 10 – June 11, 2021 [SOLD OUT]

Cleaver Magazine Posted on January 23, 2021 by thwackMay 7, 2021

TELLING TRUE STORIES
A Workshop in Creative Nonfiction
Taught by Cleaver Editor Sydney Tammarine

5 weeks
May 10 to June 11, 2021
Class limit: 12
$200
Questions: sydney.t[email protected]

[SOLD OUT]

Writer Dinty W. Moore says that creative nonfiction equals curiosity plus truth. CNF comes in a variety of forms: from expansive memoir to intimate personal essay to the lightbulb “eureka!” of flash. But in any form, the CNF writer is a guiding voice in the dark: a storyteller seeking truth, thinking alongside the reader toward a deeper understanding of ourselves and our world.

In this class, we’ll practice the essay in its most dynamic form: a verb that means “to test; to practice; to taste; to try to do, accomplish, or make (anything difficult).” Each week, we will read and discuss one or more example essays and generate new work from prompts. Students will share their work for peer and instructor feedback.

This workshop has weekly readings and writing assignments to inspire you—and deadlines to motivate you—but the work can be done at your own pace and on your own time. There are no required meetings, although we’ll hold optional Zoom write-ins and discussions for those who are interested. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.


Sydney TammarineSydney Tammarine’s work has appeared in Ploughshares, LIT, Pithead Chapel, The Missing Slate, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.


SYLLABUS

Topic One: Writing the Tough Stuff

In our first week together, we’ll explore: Why does the most powerful writing often come from loss, grief, or trauma? What value do the “tough stories” of our lives have to others? Why is nonfiction uniquely posed to connect us to others, and what value do the “tough stories” of our lives have to them? We’ll also practice strategies for writing our toughest material in an environment that’s safe and encouraging.

Topic Two: Finding Your Truth

Novelist Tim O’Brien often talks about the role of truth in his fiction: “I want you to feel what I felt. I want you to know why a story-truth is truer sometimes than happening-truth.” In CNF, we have an obligation to truth that is greater than just getting the facts right. How do we write the story-truth, the happening-truth, as best we know it? Can any piece of writing be objectively true? We’ll talk about strategies for writing in the face of these questions, and also for finding what we think we can’t remember.

Topic Three: Hell is (Writing About) Other People

Writer Anne Lamott said, “You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better.” But that doesn’t always feel so easy, does it? This week, we’ll practice making characters in nonfiction—including yourself—feel real on the page, and discuss the ethics of writing about other people.

Topic Four: Finding Poetry in Prose

The Seneca Review describes the lyric essay as “[l]oyal to that original sense of essay as a test or a quest, an attempt at making sense,” but with prose that “might move by association, leaping from one path of thought to another by way of imagery or connotation, advancing by juxtaposition or sidewinding poetic logic.” This week, we’ll try out such poetic logic, experimenting with moves that can bring the music of poetry to our prose.

“Other than the topics that were all useful and valuable, Sydney included a wonderful revision exercise that I had never considered before–incorporating prose poetry into a piece. I revised my least favorite piece, and it became my favorite piece. ”

“Sydney was a very gifted teacher, capable of elevating my writing, even though I’m a beginning writer. I appreciated her sensitive, thoughtful and practical feedback and how she managed the feedback we gave each other.”

“Sydney was one of the more considerate, warm and insightful facilitators I have met. She was a sharp and welcome contrast to some of the horror stories that we sometimes hear about how such groups can be unkind and kill budding writers’ desire to “expose” their work.”

“This was a fantastic group with a great sense of community. I miss them.”

“I had never experienced the value of the writing community for feedback and encouragement. Wow, Sydney really set the tone, offering acceptance and providing lots of positive direction.”

Write Where you are

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Published on January 23, 2021 in CNF Workshops, Spring 2021 Workshops, Summer 2021 Workshops, Telling True Stories. (Click for permalink.)

THE ART OF FLASH, Workshop in Fiction and Nonfiction, taught by Cleaver Flash Editor Kathryn Kulpa | January 3 to February 7, 2021 SOLD OUT

Cleaver Magazine Posted on September 17, 2020 by thwackDecember 7, 2020
Neon Lightning Bolt

THE ART OF FLASH

A Workshop in Fiction and Nonfiction

Taught by Cleaver Flash Editor Kathryn Kulpa

5 weeks
SOLD OUT
Class limit: 12
Questions: [email protected] 

Register Now

Flash is a genre defined by brevity: vivid emotions and images compressed into a compact form. We most often see flash fiction, but flash can also encompass prose poetry, micro memoir, lyric essays, and hybrid works.

In this class, we will take a close look at different styles and forms of flash fiction, as well as flash nonfiction, hybrid, and experimental works. Each week, we will read and discuss one or more example-works and generate new work from prompts. Students will share their work for peer and instructor feedback, then will choose one story to revise for the final class.

This workshop has weekly deadlines and assignments to help motivate you to write, but the work can be done at your own pace and on your own time—there are no required meetings (although we may have an optional Zoom pop-up or two and bonus prompts for those who are interested). We welcome both new and experienced writers looking for motivation, structure, and constructive criticism.


Kathryn Kulpa was a winner of the Vella Chapbook Contest for her flash chapbook Girls on Film (Paper Nautilus) and has had work selected for inclusion in Best Microfiction 2020 (Pelekinesis Press).  Her flash fiction is published or forthcoming in Jellyfish Review, Monkeybicycle, Smokelong Quarterly, and Wigleaf, and she serves as flash editor for Cleaver Magazine. Kathryn has been a visiting writer at Wheaton College, and has led writing workshops at the University of Rhode Island, Stonecoast Writers Conference at the University of Southern Maine, Writefest in Houston, Texas, and at public libraries throughout Rhode Island.


SYLLABUS

Topic One: Time and Place

Time constraints in flash fiction—handling transitions—telling a larger story through a selected moment—zoom lens or wide angle?—creating a vivid setting in few words

Topic Two: Voice, Character, and Point of View

Choosing a lens—whose story?—first, second, and third-person—single or multiple points of view—speed dating: shorthand character reveals

Topic Three: Where Prose Meets Poetry

Borrowing poetic techniques to create brilliant flash—image is everything—white space and stories in stanzas—the right sound—the power of repetition

Topic Four: Flash Frontier: Experimental and Hybrid Forms

Prose poetry—lists, recipes, and want ads: hermit crab stories—lyric essays—ekphrastic flash—using found objects to tell a story

 

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Published on September 17, 2020 in Fiction Workshops, The Art of Flash, Winter 2020 - 2021 Workshops, Workshops. (Click for permalink.)

AFTERBURN A Workshop on the Art of Flash Revision Taught by Cleaver Flash Editor Kathryn Kulpa | November 15 to December 12, 2020

Cleaver Magazine Posted on September 17, 2020 by thwackNovember 27, 2020

Dandelion on fire with title After Burn Kathryn KulpaAFTERBURN
A Workshop on the Art of Flash Revision
Taught by Cleaver Flash Editor Kathryn Kulpa

3 weeks
November 15 to December 12, 2020
$175
Class limit: 12
Questions: [email protected]

Register Now

Flash fiction may be born in a lightning flash of inspiration, but crafting works of perfect brevity requires time and patience: sometimes cutting, sometimes adding, and sometimes starting all over again. In very short stories, every word must work, and revision is as much a part of writing flash as it is of writing longer prose. In this hands-on workshop, we’ll practice the art of revision. Flash fiction writer and editor Kathryn Kulpa will share first drafts, revisions, and published versions of her own work and that of other flash and short fiction writers. Students will learn different revision strategies and how to apply them to their own work. We will create new flash together and work on taking it through several revisions, and students will also have the chance to bring existing stories to the workshop to revise with a goal of publication.


Kathryn Kulpa workshop leader photoKathryn Kulpa was a winner of the Vella Chapbook Contest for her flash chapbook Girls on Film (Paper Nautilus) and has had work selected for inclusion in Best Microfiction 2020 (Pelekinesis Press).  Her flash fiction is published or forthcoming in Jellyfish Review, Monkeybicycle, Smokelong Quarterly, and Wigleaf, and she serves as flash editor for Cleaver Magazine. Kathryn has been a visiting writer at Wheaton College and has led writing workshops at the University of Rhode Island, Stonecoast Writers Conference at the University of Southern Maine, Writefest in Houston, Texas, and at public libraries throughout Rhode Island.

 

 

Typewriter writing Cleaver Workshop and cleaver logo

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Published on September 17, 2020 in Fall 2020 Workshops, Fiction Workshops, Sold Out, The Art of Flash, Workshops. (Click for permalink.)

THE ART OF FLASH, Workshop in Fiction and Nonfiction, taught by Cleaver Flash Editor Kathryn Kulpa | October 3-November 7, 2020 [SOLD OUT]

Cleaver Magazine Posted on July 23, 2020 by thwackSeptember 21, 2020
Neon Lightning Bolt

THE ART OF FLASH

A Workshop in Fiction and Nonfiction

Taught by Cleaver Flash Editor Kathryn Kulpa

5 weeks
October 3–November 7
$175 Early Bird before September 3, 2020
$200 Regular
Class limit: 12
Questions: [email protected] 

[Sold Out]

Flash is a genre defined by brevity: vivid emotions and images compressed into a compact form. We most often see flash fiction, but flash can also encompass prose poetry, micro memoir, lyric essays, and hybrid works.

In this class, we will take a close look at different styles and forms of flash fiction, as well as flash nonfiction, hybrid, and experimental works. Each week, we will read and discuss one or more example-works and generate new work from prompts. Students will share their work for peer and instructor feedback, then will choose one story to revise for the final class.

This workshop has weekly deadlines and assignments to help motivate you to write, but the work can be done at your own pace and on your own time—there are no required meetings (although we may have an optional Zoom pop-up or two and bonus prompts for those who are interested). We welcome both new and experienced writers looking for motivation, structure, and constructive criticism.


Kathryn Kulpa was a winner of the Vella Chapbook Contest for her flash chapbook Girls on Film (Paper Nautilus) and has had work selected for inclusion in Best Microfiction 2020 (Pelekinesis Press).  Her flash fiction is published or forthcoming in Jellyfish Review, Monkeybicycle, Smokelong Quarterly, and Wigleaf, and she serves as flash editor for Cleaver Magazine. Kathryn has been a visiting writer at Wheaton College, and has led writing workshops at the University of Rhode Island, Stonecoast Writers Conference at the University of Southern Maine, Writefest in Houston, Texas, and at public libraries throughout Rhode Island.


SYLLABUS

Topic One: Time and Place

Time constraints in flash fiction—handling transitions—telling a larger story through a selected moment—zoom lens or wide angle?—creating a vivid setting in few words

Topic Two: Voice, Character, and Point of View

Choosing a lens—whose story?—first, second, and third-person—single or multiple points of view—speed dating: shorthand character reveals

Topic Three: Where Prose Meets Poetry

Borrowing poetic techniques to create brilliant flash—image is everything—white space and stories in stanzas—the right sound—the power of repetition

Topic Four: Flash Frontier: Experimental and Hybrid Forms

Prose poetry—lists, recipes, and want ads: hermit crab stories—lyric essays—ekphrastic flash—using found objects to tell a story

 

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Published on July 23, 2020 in Fall 2020 Workshops, Sold Out, The Art of Flash, Workshops. (Click for permalink.)

AFTERBURN A Workshop the Art of Flash Revision Taught by Cleaver Flash Editor Kathryn Kulpa | August 3 to August 22, 2020 [SOLD OUT]

Cleaver Magazine Posted on May 29, 2020 by thwackOctober 4, 2020

Dandelion on fire with title After Burn Kathryn KulpaAFTERBURN
A Workshop in the Art of Flash Revision
Taught by Cleaver Flash Editor Kathryn Kulpa

3 weeks
August 3 to August 22
$125 early bird / $150 regular
Class limit: 12
Questions: [email protected]

SOLD OUT

Flash fiction may be born in a lightning flash of inspiration, but crafting works of perfect brevity requires time and patience: sometimes cutting, sometimes adding, and sometimes starting all over again. In very short stories, every word must work, and revision is as much a part of writing flash as it is of writing longer prose. In this hands-on workshop, we’ll practice the art of revision. Flash fiction writer and editor Kathryn Kulpa will share first drafts, revisions, and published versions of her own work and that of other flash and short fiction writers. Students will learn different revision strategies and how to apply them to their own work. We will create new flash together and work on taking it through several revisions, and students will also have the chance to bring existing stories to the workshop to revise with a goal of publication.


Kathryn Kulpa workshop leader photoKathryn Kulpa was a winner of the Vella Chapbook Contest for her flash chapbook Girls on Film (Paper Nautilus) and has had work selected for inclusion in Best Microfiction 2020 (Pelekinesis Press).  Her flash fiction is published or forthcoming in Jellyfish Review, Monkeybicycle, Smokelong Quarterly, and Wigleaf, and she serves as flash editor for Cleaver Magazine. Kathryn has been a visiting writer at Wheaton College and has led writing workshops at the University of Rhode Island, Stonecoast Writers Conference at the University of Southern Maine, Writefest in Houston, Texas, and at public libraries throughout Rhode Island.

 

 

Typewriter writing Cleaver Workshop and cleaver logo

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Published on May 29, 2020 in Sold Out, The Art of Flash, Workshops. (Click for permalink.)

TELLING TRUE STORIES, a Workshop in Creative Nonfiction, by Sydney Tammarine | July 27 – August 28, 2020 [SOLD OUT]

Cleaver Magazine Posted on May 6, 2020 by thwackSeptember 20, 2020

cover image telling true stories a lightbulb on a dark backgroundTELLING TRUE STORIES
A Workshop in Creative Nonfiction
Taught by Cleaver Editor Sydney Tammarine

5 weeks
July 27 – August 28 [sold out]
Class limit: 12
Questions: [email protected]

Writer Dinty W. Moore says that creative nonfiction equals curiosity plus truth. CNF comes in a variety of forms: from expansive memoir to intimate personal essay to the lightbulb “eureka!” of flash. But in any form, the CNF writer is a guiding voice in the dark: a storyteller seeking truth, thinking alongside the reader toward a deeper understanding of ourselves and our world.

In this class, we’ll practice the essay in its most dynamic form: a verb that means “to test; to practice; to taste; to try to do, accomplish, or make (anything difficult).” Each week, we will read and discuss one or more example essays and generate new work from prompts. Students will share their work for peer and instructor feedback.

This workshop has weekly readings and writing assignments to inspire you—and deadlines to motivate you—but the work can be done at your own pace and on your own time. There are no required meetings, although we’ll hold optional Zoom write-ins and discussions for those who are interested. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.


Sydney Tammarine’s work has appeared in Ploughshares, LIT, Pithead Chapel, The Missing Slate, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.


SYLLABUS

Topic One: Writing the Tough Stuff

In our first week together, we’ll explore: Why does the most powerful writing often come from loss, grief, or trauma? What value do the “tough stories” of our lives have to others? Why is nonfiction uniquely posed to connect us to others, and what value do the “tough stories” of our lives have to them? We’ll also practice strategies for writing our toughest material in an environment that’s safe and encouraging.

Topic Two: Finding Your Truth

Novelist Tim O’Brien often talks about the role of truth in his fiction: “I want you to feel what I felt. I want you to know why a story-truth is truer sometimes than happening-truth.” In CNF, we have an obligation to truth that is greater than just getting the facts right. How do we write the story-truth, the happening-truth, as best we know it? Can any piece of writing be objectively true? We’ll talk about strategies for writing in the face of these questions, and also for finding what we think we can’t remember.

Topic Three: Hell is (Writing About) Other People

Writer Anne Lamott said, “You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better.” But that doesn’t always feel so easy, does it? This week, we’ll practice making characters in nonfiction—including yourself—feel real on the page, and discuss the ethics of writing about other people.

Topic Four: Finding Poetry in Prose

The Seneca Review describes the lyric essay as “[l]oyal to that original sense of essay as a test or a quest, an attempt at making sense,” but with prose that “might move by association, leaping from one path of thought to another by way of imagery or connotation, advancing by juxtaposition or sidewinding poetic logic.” This week, we’ll try out such poetic logic, experimenting with moves that can bring the music of poetry to our prose.

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Published on May 6, 2020 in CNF Workshops, Telling True Stories, Workshops. (Click for permalink.)

THE ART OF FLASH, Workshop in Fiction and Nonfiction, taught by Cleaver Flash Editor Kathryn Kulpa | May 9 — June 6, 2020 and June 20 — July 25, 2020 [both sections sold out]

Cleaver Magazine Posted on May 6, 2020 by thwackJuly 23, 2020
Neon Lightning Bolt

THE ART OF FLASH

A Workshop in Fiction and Nonfiction

Taught by Cleaver Flash Editor Kathryn Kulpa

Both sessions of Kathryn Kulpa’s The Art of Flash are sold out—new classes by Kathryn will be announced shortly!

Session 2: 5 weeks
June 20 — July 25, 2020
$125 early bird / $150 regular
Class limit: 12
Questions: [email protected] [sold out]


Session 1: 5 weeks
May 9 — June 6, 2020
$125 early bird / $150 regular
Class limit: 12
Questions: [email protected] [sold out]

Flash is a genre defined by brevity: vivid emotions and images compressed into a compact form. We most often see flash fiction, but flash can also encompass prose poetry, micro memoir, lyric essays, and hybrid works.

In this class, we will take a close look at different styles and forms of flash fiction, as well as flash nonfiction, hybrid, and experimental works. Each week, we will read and discuss one or more example works and generate new work from prompts. Students will share their work for peer and instructor feedback, then will choose one story to revise for the final class.

This workshop has weekly deadlines and assignments to help motivate you to write, but the work can be done at your own pace and on your own time—there are no required meetings (although we may have an optional Zoom pop-up or two and bonus prompts for those who are interested). We welcome both new and experienced writers looking for motivation, structure, and constructive criticism.


Kathryn Kulpa was a winner of the Vella Chapbook Contest for her flash chapbook Girls on Film (Paper Nautilus) and has had work selected for inclusion in Best Microfiction 2020 (Pelekinesis Press).  Her flash fiction is published or forthcoming in Jellyfish Review, Monkeybicycle, Smokelong Quarterly, and Wigleaf, and she serves as flash editor for Cleaver magazine. Kathryn has been a visiting writer at Wheaton College, and has led writing workshops at the University of Rhode Island, Stonecoast Writers Conference at the University of Southern Maine, Writefest in Houston, Texas, and at public libraries throughout Rhode Island.


SYLLABUS

Topic One: Time and Place

Time constraints in flash fiction—handling transitions—telling a larger story through a selected moment—zoom lens or wide angle?—creating a vivid setting in few words

Topic Two: Voice, Character, and Point of View

Choosing a lens—whose story?—first, second, and third person—single or multiple point of view—speed dating: shorthand character reveals

Topic Three: Where Prose Meets Poetry

Borrowing poetic techniques to create brilliant flash—image is everything—white space and stories in stanzas—the right sound—the power of repetition

Topic Four: Flash Frontier: Experimental and Hybrid Forms

Prose poetry—lists, recipes, and want ads: hermit crab stories—lyric essays—ekphrastic flash—using found objects to tell a story

 

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Published on May 6, 2020 in Sold Out, The Art of Flash, Workshops. (Click for permalink.)

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Summer 2023 Workshops & Masterclasses

Happy 10th Birthday, Cleaver! Read Issue No. 1, March 2013

Ann Kathryn Kelly Interviews Cleaver Senior Poetry Editor Claire Oleson

CLEAVER CLINICS!

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Celebrate Emerging Artists

Ask June!

Cleaver’s in-house advice columnist opines on matters punctuational, interpersonal, and philosophical, spinning wit and literary wisdom in response to your ethical quandaries. Write to her at today!

ASK JUNE: November 2021 Pandemic Purge and the Ungracious Griever

ASK JUNE: November 2021 Pandemic Purge and the Ungracious Griever

Dear June, Since the start of this pandemic, I have eaten more and exercised less, and have gone from a comfortable size 10 to a tight size 16. In July and early August, when the world seemed to be opening up again, I did get out and move around more, but my destinations often included bars and ice cream shops, and things only got worse. I live in a small apartment with almost no closet space. I know part of this is in my mind, but it often seems that my place is bursting at the seams with “thin clothes.”  ...
Read More...
November 18, 2021

Top Ten Today on Cleaver:

  • CLEOPATRA AND FRANKENSTEIN, a novel by Coco Mellors, reviewed by Stephanie Fluckey
    CLEOPATRA AND FRANKENSTEIN, a novel by Coco Mellors, reviewed by Stephanie Fluckey
  • TWO POEMS by Jeremy Radin
    TWO POEMS by Jeremy Radin
  • INTO THE WOODS: What Fairy Tale Settings Can Teach Us About Fiction Writing, a Craft Essay by Dana Kroos
    INTO THE WOODS: What Fairy Tale Settings Can Teach Us About Fiction Writing, a Craft Essay by Dana Kroos
  • SHAPES by Meg Pokrass
    SHAPES by Meg Pokrass
  • FLASH ARCHIVE
    FLASH ARCHIVE
  • THE FICTION MULTIVERSE, or What Happens Next. Or next, or next… a craft essay by John Fried
    THE FICTION MULTIVERSE, or What Happens Next. Or next, or next… a craft essay by John Fried
  • GRAPHIC PSYCHE: A Workshop in Visual Narrative Memoir taught by Emily Steinberg, June 5-26, 2021
    GRAPHIC PSYCHE: A Workshop in Visual Narrative Memoir taught by Emily Steinberg, June 5-26, 2021
  • POETRY AS PRACTICE How Paying Attention Helps Us Improve Our Writing in the Age of Distraction A Craft Essay by Scott Edward Anderson
    POETRY AS PRACTICE How Paying Attention Helps Us Improve Our Writing in the Age of Distraction A Craft Essay by Scott Edward Anderson
  • A GIRL ON THE SHORE, a graphic narrative by Inio Asano, reviewed by Helen Chazan
    A GIRL ON THE SHORE, a graphic narrative by Inio Asano, reviewed by Helen Chazan
  • CREATION MYTH WITH CHORUS OF WORMS IN MY BRAIN by Jordan Ranft
    CREATION MYTH WITH CHORUS OF WORMS IN MY BRAIN by Jordan Ranft

Issue 42 Countdown!

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RIGHT THIS WAY by Miriam N. Kotzin Spuyten Duyvil, 339 pages reviewed by Lynn Levin They say it can be done, but it is hard, very hard, for most betrayed wives to regain trust and ... Read More
February 15, 2023

A conversation with Nancy Ludmerer, author of Collateral Damage: 48 Stories by Kathryn Kulpa

A conversation with Nancy Ludmerer, author of Collateral Damage: 48 Stories by Kathryn Kulpa
FLASH-WRITERS: TRUST YOUR READER: a conversation with Nancy Ludmerer, author of Collateral Damage: 48 Stories (Snake Nation Press, 2022) by Kathryn Kulpa I had the pleasure of interviewing Nancy Ludmerer, a student in one of ... Read More
February 14, 2023
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Emily Steinbergs’s Comix

The writer, a middle-aged woman with long grey hair, is driving in car with her dog. She narrates: Since the end of February I've been watching the war on TV. CNN Breaking: "Russia Invades Ukraine. Ukraine strikes fuel depot. Putin pissed off."... And obsessively doom scrolling on Twitter. War Crimes! Odessa bombed! It simultaneously feels like 1939 and right now. Totally surreal.

WAR AND PEACE 2.0 by Emily Steinberg

MEN O PAUSE by Emily Steinberg

MEN O PAUSE by Emily Steinberg

Visual Narratives

DESPINA by Jennifer Hayden

DESPINA by Jennifer Hayden

From KENNINGS, Visual Erasures by Katrina Roberts

From KENNINGS, Visual Erasures by Katrina Roberts

VISUAL NARRATIVES ARCHIVE

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