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• Copyright is held by Hobart and William Smith Colleges until publication, at which time rights revert to the author.• Due to budgetary concerns, and in an effort to curb our Submittable expenses, Seneca Review is now charging a fee for work sent via Submittable.We speak of worry as though it is something we can choose to do, or stop doing… We don’t have the capacity to choose to start worrying, and we cannot simply choose to stop worrying, either; the capacity we have—at least some of us—is the capacity to allow worry to articulate itself.
We thought Bending Genre’s webiste would be a great place to reproduce them.
Thanks again to Sally Ashton and Dinty Moore for bringing attention to our panel. Here’s what I mean: I have never taught a class whose title or subtitle contained the words “lyric essay,” although I have taught several classes in which what others might call “the lyric essay” has been studied abundantly.
All great, but here was the problem: when I would share my lyric essays in workshops and writing circles, I noticed that people were often reluctant to critique, like they didn’t know whether to eat what I had served with a fork or with a spoon.
I love this quote from Brian Doyle’s “Playfulnessless,” in Vol. 1 issue of Thesis: the essay is the widest fattest most generous open glorious honest endlessly expandable form of committing prose not only because it cheerfully steals and hones all the other tools and talents of all other forms of art, and not only because it is admirably and brilliantly closest to not only the speaking voice but the maundering salty singing voices in our heads, but also because it is the most playful of forms, liable to hilarity and free association and startlement, without the filters and mannered disguises and stiff dignity of fiction and poetry and journalism, respectively. What Brian Doyle is talking about is the malleability of the essay as a form, the flexibility of the structure itself.
Main craft element is the juxtaposition (or associative leaps between) language and imagery Still, even with an understanding of its traits, many wonder how to go about critiquing the lyric essay.
And while I would no sooner advise someone on this than I would critiquing contemporary art or the mechanics of modern dance, I do think it’s fair to ask whether the piece I am an East-coaster and a West-coaster. I am an environmental scientist who always wanted to write, and a writer with a nagging nostalgia for the complexities of environmental science.
Sally Ashton wrote “Top Ten Reasons Why “Navigating Emptiness: Benefits and Drawbacks of Teaching the Lyric Essay” Was a Great Panel.” Kathleen Rooney, Julie Paegle, and I were happy to hear we served the audience and AWP well.
We have been asked if the panels and handouts could be made available for those who couldn’t make it to the panel.
The lyric essayist texturizes his or her prose with layers to convey the complexity of the content, presenting different threads, patterns of thought, and points of intersection.
It’s like walking on a path made of stepping stones — more fun than just walking on dirt.