News and Events

See all News and Events

A Reading by Paul Lisicky
The 2016 Guggenheim fellow reads from his memoir The Narrow Door
Monday, April 10, 2017
2:30 pm EDT/GMT-4
Campus Center, Weis Cinema
 [A Reading by Paul Lisicky] The author of Lawnboy reads from his new memoir, The Narrow Door, at 2:30 p.m. on Monday, April 10th, 2017, in Weis Cinema, Bertelsmann Campus Center. Sponsored by the Innovative Contemporary Fiction Reading Series, introduced by Bradford Morrow and followed by a Q&A, the reading is free and open to the public; no tickets or reservations are required.

PAUL LISICKY is the author of The Narrow Door, Unbuilt Projects, The Burning House, Famous Builder, and Lawnboy, and the editor of StoryQuarterly. A 2016 Guggenheim Fellow, he has also received awards from the National Endowment for the Arts, the James Michener/Copernicus Society, the Corporation of Yaddo, and the Fine Arts Work Center in Provincetown. He currently teaches in the MFA Program at Rutgers University-Camden, the low residency program at Sierra Nevada College, and at the Juniper Summer Writing Institute.

Read his work in Conjunctions’ weekly online magazine, and read and hear his contribution to Conjunctions:61, A Menagerie.

PRAISE FOR PAUL LISICKY

“Intelligent and intimate, fierce and tender, real and raw, Paul Lisicky’s The Narrow Door is an unforgettable memoir about love and loss, friendship and forgiveness. It had me in its thrall from page one.”—Cheryl Strayed

“You know you’re reading an exceptional book when, approximately two sentences into it, you start panicking at the thought of its ending. Be forewarned: this is likely to happen to you, as it did to me, reading the opening pages of The Narrow Door, the achingly gorgeous, wildly ambitious memoir by Paul Lisicky.” —Chicago Tribune

“Paul Lisicky’s The Narrow Door circumvents the often inscrutable forces that bring us in and out of each other’s lives and hearts, while paying welcome homage to the oft-unsung role of friendship in them. While Lisicky bears witness to ‘the hell of wanting [that] has no cure,’ his ship always feels buoyant, by virtue of a narrator whose attentiveness to feelings both big and small is marked throughout by honesty and devotion.” —Maggie Nelson

Any supporter who donates $500 or more to Bard’s literary journal Conjunctions receives a BackPage Pass providing VIP access to any Spring/Fall 2017 or future event in the Innovative Contemporary Fiction Reading Series. Have lunch with a visiting author, attend a seminar on their work, and receive premium seating at their reading. Or you can give your BackPage Pass to a lover of literature on your gift list! To find out more, click here or contact Micaela Morrissette at [email protected] or (845) 758-7054.

Contact: Micaela Morrissette, [email protected], 845-758-7054

Connect

e-mail
Submissions

In Print

Vol. 82
Works & Days
Spring 2024
Bradford Morrow

Online

July 24, 2024
On Valentine’s Day, Milo strings a horse-shaped piñata from the ceiling light in our living room, and I walk by twice before noticing it swaying there. The light is off and the horse is dark, but I am not unobservant. Part of me accepts a horse swinging in my periphery. Milo makes up a real reason for me to go back down the hall and, when I look for the space heater, I find the horse hanging. He dangles from a yellow jump rope, and I am so happy to see him in my house. Milo hands me the stick. “You need,” he says, “to kill a horse.”
 
July 17, 2024
There is the man on the moon. Go to him. Get bread from him, drink his water. Take your dog, Blue to him. Take your mother. She is skiing outside around the house. Stop her, tell her that Blue is going also. Take the gander, Henry. He is short in the legs. Leave me Iris. I have seen her eat feed in a pattern.
 
July 10, 2024
Marcie decided on Vertigo because she’d recently encountered several texts in quick succession that made extensive reference to it: Chris Marker’s time travel film told in still images, La Jetée, Terry Gilliam’s unlikely Hollywood adaptation, 12 Monkeys, and a story by Bennett Sims called “White Dialogues” about an embittered academic seething in an auditorium during a lecture being given by the hot new thing in Hitchcock studies. The coincidence made her feel involved with the film, and vice versa, in a way that evades more specific description.