by Bex Hoffer | Mar 29, 2021 | River Teeth Revisited
By Jessie Ferree March 16, 2021 Anchoring and Questioning: Tracing Research and Reflection in Leonard Winograd’s “The Physics of Sorrow” Leonard Winograd’s essay “The Physics of Sorrow,” found in River Teeth 21.1, provides a perfect example of the proper roles...
by Bex Hoffer | Mar 29, 2021 | River Teeth Revisited
By Shelbi Tedeschi February 15, 2021 “The Babysitter” by Anton DiSclafani: Writing the Braided Essay I’ll admit it—I’m a sucker for a good woven essay. Call it a braided or challah essay, give it two strands, give it four. I’m drawn to them, and when I read a...
by Bex Hoffer | Mar 29, 2021 | River Teeth Revisited
By Valerie Weingart May 6, 2020 Pacing & Tempo Possibilities for Micro Essays: A Beautiful Things Analysis As a young singer, one of my largest challenges was learning how to control my breathing. Long phrases defied me; I would expend all of my air before...
by Bex Hoffer | Mar 29, 2021 | River Teeth Revisited
By Jonah James April 8, 2020 Allusion as Structure in Sean Ironman’s “And I Will Give You As Many Roast Bones As You Need” Sean Ironman’s essay, “And I Will Give You As Many Roast Bones As You Need”** (River Teeth, Volume 21, Number 1, Fall 2019)—is the longest...
by Bex Hoffer | Mar 29, 2021 | River Teeth Revisited
By Rebekah Hoffer April 15, 2020 “Almost Thirty” by Rachel Weaver: A Balancing Act in Narrative Rhythm One of the most important lessons I’ve learned in writing creative nonfiction is that, when in doubt, sometimes the best way to write about a...
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