In a different time in my life, I would’ve jumped on the chance to apply for this job at the NEA:
As the Grants Management Specialist (Literature), you will be responsible for the following tasks:
Review, organize, and process organizational grant applications from the Literature field, and follow these applications through the complete review process from receipt to final report.
Use expertise in the Literature field to serve as liaison between the Agency and field concerning applications, grants, guidelines, and related policies and issues affecting that field.
In consultation with the Grants & Contracts Office, monitor grantee performance through review of progress, interim and final reports, amendment requests, conversations with grantee, etc., to assure that the grantee is functioning in accordance with the terms and conditions of the grant.
Counsel applicants and prospective applicants about proposed projects in context of published guidelines and with knowledge of field activities and trends as well as agency funding history of specific projects.
Manage items related to special projects that arise. Duties might include managing meetings and convenings, webinar development and management, and other work items as they occur as well as processing cooperative agreements, interagency agreements, contracts, and other government documents.
The posting for this job is only open until MONDAY, AUGUST 18TH, so if you’re interested, you need to get on this right now. Also, according to Literature Director Amy Stolls, if you apply you HAVE to follow the directions exactly or everything will go awry. (Having submitted a fair share of NEA grants, there are probably more opaque directions than necessary. But still.)
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .