“I don’t know if I’d say that writers “owe it” to be involved in their communities, per say. But I think it’s one way that we can connect to other people and defeat the stereotype that writers prefer isolation/solitary existence.”
Like many of the entities and structures in the stories, I, too, am trying to figure something out or get something straight.
Northeast, Pennsylvania is becoming increasingly important in my work.
[Earlier work is] like seeing an old photograph. Yes, that’s me all right, but I’m not sure I’m that person anymore.
Richard Fellinger is an award-winning short story writer and former journalist who teaches writing at Elizabethtown College in Pennsylvania. His story collection, They Hover Over Us, won the 2011 […]
Writing poetry in general is one way to make sense of it all, to break up what is vast and essentially unknowable, into smaller, more digestible pieces.
The novel’s not nearly as bleak as that might sound. It’s about grief, sure, but it’s really about overcoming grief and the arduous path to healing.
When crisis comes, we naturally want to build up and protect love above all.
When he describes Slaughterhouse-Five’s themes in larger contexts, it’s like hearing that great English teacher you had delve into a exegesis with buoyant intensity.
I want to believe in the unseeable, the unknowable. I was exploring, in this story and others in the collection, with the idea of how far some of us will go to find something we can actually believe in, and why, for some us, believing in darkness is less terrifying than believing in nothing at all.