Elie Wiesel to Receive 2012 Kenyon Review Award for Literary Achievement
The Kenyon Review
has selected Elie Wiesel
as the winner of the 2012 Kenyon Review Award for Literary Achievement.
Wiesel is the author of more than fifty books, most famous among them his haunting work Night. His writing deals with the moral imperative of all people to fight hatred, racism, and genocide. He is a Holocaust survivor and a Nobel Peace Prize Laureate. Wiesel will accept the Kenyon Review award in New York City on Nov. 8.
Exciting Editorial Board News
By David Lynn, Editor
Because literary nonfiction (or “creative nonfiction” or “the essay”) is an area of increasing diversity and interest, Geeta Kothari, our longtime fiction editor, will be moving laterally into a new editorial post: KR’s nonfiction editor. Geeta’s own work has appeared in such venues as the Massachusetts Review, Fourth Genre, and Best American Essays. She has also edited the volume Did My Mama Like to Dance?: And Other Stories About Mothers and Daughters. This new position will allow Geeta to focus on cultivating, nurturing, soliciting, and discovering a broad range of nonfiction for our publications.
I am also delighted to announce that Caitlin Horrocks will become the new fiction editor of The Kenyon Review. Caitlin brings a wide-ranging expertise as practitioner, teacher, and reader of fiction, along with friendships throughout the larger community of writers. Her own collection of stories, This is Not Your City was published in 2011 by Sarabande Books to ecstatic reviews. She recently won the Plimpton Prize from The Paris Review.
Writers Workshop 2012 Wrap-up
By Dinty W. Moore, Writers Workshop Instructor
I’ve attended a number of summer writing retreats over the years, both as participant and instructor, but the Kenyon Review Writers Workshop has a feel and rhythm all its own. One reason might be the extraordinary literary history hovering in nearly every corner of the idyllic campus, right down to the life-size sculpted crows adorning the roof of (John Crowe) Ransom Hall. But the real reason, I suspect, is the adrenaline and excitement that flows from the “write something new every day” rule.
Recent Online Survey Results
Thanks to everyone who took part in our recent survey about The Kenyon Review
’s web redesign. Implemented in the fall of 2012, the new website design incorporates feedback from a survey conducted in the fall of 2010. We wanted to learn if the design had achieved our goals of a clearer, more accessible web experience that visually reflected the print magazine in a more direct manner.
Kenyon Review Young Writers 2012
The first session of Young Writers 2012 is nearly done, and the second session is still a week away. Already we’re lamenting the group that will soon be leaving, and anticipating the energy of the new session, with its own identity, its own special writers. The work ethic, passion, and talent of the participants is truly overwhelming; we’ve had readings from student work each night this week, and somehow, the capacity to be thrilled deepens, reading by reading.
In 1948, KR
published a brief lyric sequence by William Carlos Williams
entitled “Two Deliberate Exercises.” The second of those poems offers an ideal summer voyage through the realms of perceiving eye, describing mind, and “the tree-lined / avenues of our desires.”
The Kenyon Review, Summer 1948, Vol. X, No. 3
by William Carlos Williams
In the center, above the basin,
the mirror. To the left of
it the Maxfield Parrish, Ulysses
at Sea his small ship coming
fog threatened from between
Scylla and Charybdis. And
to the right the girl of nine,
play-pail in hand, bareheaded upon
a dune-crest facing the shining
waters. . . .
Categories of Understanding
by Catherine Barnett
I’m studying the unspoken.
“What?” my son asks.
“What are you looking at?”
But there is no explaining,
I can only speak the way light
falls, the way the cotton sheet
lays itself over his sleeping or resting
or dissolving body, touching him with
its ephemera, its oblivion.
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. New fiction, essays, poetry, and reviews are published on a biweekly basis. Check back often to read some of the most cutting-edge material you’ll find anywhere on the web. Click here to see our latest offering.
A Craft Note On the Duet (part 4) and On the Elegy (part 2)
Several several weeks ago now, Tarfia Faizullah and I exchanged notes on the elegy in what was billed as the first part of a multi-part craft note on the elegy
. We went, from there, into a discussion of “Duets,” poems that write from
, or with
lines borrowed from other poems.
Quotation is, in its own right, a source of almost endless fascination for me, as are the remixings of the writing process that come when one engages quotation—all of which to say that the Duet notes justified themselves to my attention.
Nevertheless, the turn away from the elegy and to the duet was calculated, somewhat, or motivated, at least, by the sense that the elegy is always a duet—the poem blending the poet’s voice with the poet’s knowledge of what’s lost, the poet’s voice working around what can’t be changed.