FUNNY WOMEN (COMBO!) #18: Publishing House
Submission Guidelines by Jane Roper Dear Writer: Thank you for your interest in our publication.
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elissa bassist
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The Rumpus Funny Women Interview with Julie Klausner
Some people say men aren’t funny. In her memoir I Don’t Care About Your Band, comedienne Julie Klausner says it a few times: (1) “I was tired of pretending I thought he…
The Rumpus Books Sunday Supplement
This week, Rumpus books reviewed Terry Castle’s book of essays, interviewed Elaine Showalter, wrote about Nabokov, and talked about grief and Hamlet. Come see what you missed.
Elissa Bassist on Elissa Bassist
“On a more serious note, I don’t think women have enough space for expression. Some people like to believe women don’t poop. This is absurd. I poop an insane amount.…
Women’s News
Tina Fey once said, “I think we can all agree that it’s a great time to be a lady in America, and not just because of that new yogurt that…
FUNNY WOMEN #1: The New Rumpus Humor Column: I Am Sorry That I Didn’t Write a Comedy Piece
I guess it's time for me to get serious about writing this comedy piece. Emoticon.
Funny Women Submission Guidelines
Dear Writers, So, you’ve decided you’re a woman or gender non-conforming writer and would like to submit to Funny Women. Out of all decisions, this is the best one you…
Morning Coffee
Social networking sites as art installation. Light-test.com collects photographer’s, uh, light tests. The results are playful and fascinating. A Journey Round My Skull takes a rare trip outside its selfimposed…
Verbophobia: About the Phobias in Roberto Bolaño’s 2666
“An oasis of horror in a desert of boredom,” by Charles Baudelaire, 2666's epigram
Role Models
Those who came before us — Virginia Woolf, Jean Rhys, and Flannery O’Connor — “illuminat[ed] precedents for women writers,” and became our heroines, our literary guides, our inspirations and paragons.…
Notes and Errata*: A Companion Guide to “The Unfinished”
*The Rumpus presents endnotes (and some additions and/or digressions) w/r/t “The Unfinished” by D. T. Max (The New Yorker, Mar. 9, 2009),