What’s the end of the world, as YOU know it? 

Some talented KWH folk are putting together a zine/group chapbook/small publication on the END OF THE WORLD, or the APOCALYPSE or also PLAUSIBLE or NOT PLAUSIBLE DYSTOPIAN SPECULATIVE FICTION or NON FICTION. They are looking for submissions!

Writing should be between 0 and 500 words, or be excerpt-able. Art should be reproducible.

Art and writing includes comics.

You do not need to be Penn-affiliated to get involved.

You can email wh@writing.upenn.edu to submit!

Reblogged from afilreis  1 note


Our renovation begins. The old “pub room” has been stripped and is ready to become our Zises Seminar Room. Meanwhile, outside in the garden the old holly had to be taken down to make way for the 2-story addition, The Kelly Annex with its fabulous Wexler Studio and, on the second floor, a new student projects room. The garden doesn’t look the same without that huge holly.

The staff here at KWH aren’t just spending our work days at a construction site—we’re dwelling in possibility. (Oh, just think of how beautiful these new rooms are going to be!)

Yesterday, our recruitment efforts took us to Brooklyn, where we spent the day at Achievement First’s Brooklyn High School, a great charter school with a strong commitment to community and college prep, and Brooklyn Technical High School, a large public high school with excellent academic opportunities. Ian Alexander, a member of Penn’s Class of 2016 and Brooklyn Tech alum, joined for our session at his school, where we covered everything from the writing-related community at KWH to Penn’s dual degree programs to meal plan options!

Reblogged from believermag  10 notes

I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more—for lack of a better word—risky. So I was taken aback when I was so taken aback by Margaux Williamson’s paintings. The first thing I was attracted to was their scale: unusually small for New York. I was drawn to them and then drawn into them. Exquisitely painted, with a sweeping range of historical references, they won me over. My resistance crumbled. I found myself falling in love with painting again. Williamson’s paintings dissolve binaries and, in turn, dissolved my own binaries. By reconciling opposition in the most elegant way, they got me thinking, making me think that these are, in fact, conceptual works of art. By

The Believer Logger: “This Flat-Screen World” 

Our own Kenny Goldsmith is in The Believer, interviewing painter Margaux Williamson! 

Kenny is a member of the writing faculty here at Penn. He is the author of Uncreative Writing and other books, was the first Poet Laureate of the Museum of Modern Art last year, and is the creator of UbuWeb, which collects important avant-garde artworks for free consumption by all.

Snapshots from today’s recruitment trip to the extraordinary New England Young Writers Conference at Middlebury College’s Bread Loaf campus. Here, high schoolers pad through the grass barefoot between workshop sessions, chatting amongst themselves, or taking a few quiet moments in an Adirondack chair to look at the mountains. About 20 of these writers participated in a great discussion about Penn, KWH, and the college search process!