Eula Biss is the author, most recently, of On Immunity: An Inoculation, which was named one of the 10 Best Books of 2014 by the New York Times Book Review. Her second book, Notes from No Man's Land: American Essays, won the National Book Critics Circle Award for criticism in 2010. Her first book, The Balloonists, was published by Hanging Loose Press in 2002.
Eula Biss (born August 9, 1977) is an American non-fiction writer who is the author of three books. Biss has won the Carl Sandburg Literary Award, the Rona Jaffe Foundation Writers' Award, the Graywolf Press Nonfiction Prize, the Pushcart Prize, and the National Book Critics Circle Award. She is an editor at Essay Press, which she founded, and a Guggenheim Fellow.
Freelance writers who have made famous the musical essay will be: Eula Biss, writer of No Man’s Land and many lyrical essays, which include The Pain Scale which is often read online. (Conduct a Google Search) David Shields, writer of the book Reality Being hungry.
Once the term “lyric essay” became institutionalized by journals like Seneca Review, a writer could sit down and intend to write a lyric essay. Maybe she’d already been doing so, with or without the term in mind, but now she could write with more clarity about her aims and audience.
ABOUT ESSAY PRESS. Essay Press is dedicated to publishing artful, innovative and culturally relevant prose. We are interested in publishing pieces that are too long to be easily published in journals or magazines, but too short to be considered book-length by most publishers.
In Notes from No Man’s Land, Eula Biss combines personal narrative with hard reporting in a series of essays which interrogate whiteness, racism, and violence in America. Although the essays in this collection vary in content, many, notably, are driven primarily by research.
MASTHEAD FOUNDERS Essay Press was founded in 2006 by Eula Biss, Stephen Cope, and Catherine Taylor. An account of Essay’s early history can be found here. EDITORS Maria Anderson is from Montana.
Analyzing Eula Biss’s “Pain Scale,” Mintz explains that “By turns elusive, imagistic, ecstatic, associative, and melodic, more often circling and symbolizing life events than narrating them in linear ways, the lyric essay has a unique capacity to represent the self-in-pain” (243).
This episode originally aired on January 19, 2017. Krista Tippett, host: If this American political moment is in part, as the civil rights elder Ruby Sales said to me, a “crisis of whiteness,” then whiteness is something I want to be discussing. I’m joined by the writer Eula Biss. In 2015, she authored an essay in The New York Times that I could not stop thinking about, called “White.
Using Eula Biss’s 2005 essay “The Pain Scale” as its touchstone, the article considers lyric essay as pain’s most suitable autobiographical genre. A lyric essay, it is argued, can perform the kind of conceptual shift that many theorists of pain have called for, situating pain along the pathways not just of nerves but of subjectivity, of relationships between self and other, imagination.
In this extended lyric essay, a poet mines her lifelong experience with migraine to deliver a marvelously idiosyncratic cultural history of pain—how we experience, express, treat, and mistreat it. Her sources range from the trial of Joan of Arc to the essays of Virginia Woolf and Elaine Scarry to Hugh Laurie’s portrayal of Gregory House on House M.D.
In the fall of 1997, Deborah Tall and John D’Agata, then the review’s editor and associate editor, respectively, began publishing what they called the lyric essay; the journal has since pioneered the form, having published lyric essays by Jenny Boully, Eula Biss, and Anne Carson, among many others.
A lot of writers note the way the lyric essay asks the reader to fill in gaps and make leaps. But Eula Biss reminds us that’s not a license to be vague: “I am suspicious of gaps, of silences, of contradictions because I know how easily they hide unfinished thinking and insufficient research.”.
Provocative and lyric essays about race and about living today in America, each essay shows Eula Biss deadly accuracy. Most of them are provocative, takes reader by surprise and make us think and reflect on them long time after finished the book.
Lyric Essay is a contemporary creative nonfiction form which combines qualities of poetry, essay, memoir, and research writing, while also breaking the boundaries of the traditional five-paragraph essay. As a genre unto itself, the lyric essay tends to combine conventions of many different genres. Proponents of the lyric essay classification insist it differs from prose poetry in its reliance.Usually, “lyric essayists” like Maggie Nelson, Anne Carson, and Eula Biss resolve this issue, or represent it, by using white room. Each paragraph (Nelson prefers “proposition”), like a stanza of poetry, becomes somewhat area of text, lapped by whiteness—set against blankness, as well as in reference to the others.One notable exception to the typical order is Eula Biss’s essay “The Pain Scale,” which takes the form of, well, I’ll let her tell us: I wasn’t happy with (my early draft) because I felt that it was meandering and that I wasn’t getting at what I really wanted to talk about—the nature of pain.