writer & editor


Nathan Knapp was born in Talihina, Oklahoma. He wears many hats: novelist, freelance journalist, critic, occasional adjunct professor. He holds a BA in English from Seattle Pacific University and an MFA in fiction writing from Oklahoma State, and has taught writing at Oklahoma State, Tulsa Community College, and the OSU-Tulsa Center for Poets and Writers. From 2013-2017 he served as the founding editor of The Collapsar. He lives in Nashville with his wife and son.

You can contact him at nathan.knapp[AT]okstate.edu and 405-332-ThreeFiveThreeSix.

He twitters here.


Criticism, essays, journalism

“One Has to Get Around Oneself” (on Emily Hall) in Review 31 (Sept. 9, 2022).

“Nobody’s Perfect” (on Pola Oloixarac) in Review 31 (June 17, 2022).

“The Wound Talks to You: on John Berryman” in The Point (June 30, 2021).

“Some Notes on Thomas Bernhard” in Review 31 (April 8, 2021).

“On Mauro Javier Cárdenas’s Aphasia” in Music & Literature (Dec. 8, 2020).

“Our Long National Nightmare is Over” in Journal of the Plague Year (Nov. 7, 2020).

“Talking Over the Bones” in Journal of the Plague Year (Oct. 21, 2020).

“I’d Shoot Him Myself” in Journal of the Plague Year (June 24, 2020).

“On Adam Ehrlich Sachs’s The Organs of Sense” in Music & Literature (Jan. 28, 2020).

“On Haesong Kwon’s The People’s Field” in Music & Literature (Oct. 15, 2019).

“I Do Indeed Feel Damnation Now” in 3:AM (Sept. 9, 2019).

 “Arm’s Length” (on E.M. Cioran) in The Times Literary Supplement (July 9, 2019).

On My Struggle: Book Six by Karl Ove Knausgaard in The Brooklyn Rail (May 2019).

“Time out of Mind” in The Times Literary Supplement (March 19, 2019)

“Death Between Footnotes” in The Times Literary Supplement (August 3, 2018).

“In Praise of Barabbas” in DIAGRAM 18.3 (Summer 2018).

“An Architecture of Silence and Love” in Bright Wall / Dark Room #55 (January 2018). Featured on ROGEREBERT.COM.

“The Uncanny Self: On Sarah Manguso’s 300 Arguments” in The Quarterly Conversation (June 2017).

“She’s Used to Feeling Strange: On Ottessa Moshfegh’s Homesick for Another World” in The Fanzine (May 2017).

“On Shohei Ooka” in Tin House (November 2016).

“All There Is for the Audience: On Gabriel Blackwell’s Madeline E.” in The Fanzine (October 2016).

“Eating the Sun” in B.O.A.A.T PRESS (June/July 2016).

“On Reading Roethke” in The Millions (August 2015).

“Life on these Plains” in Blue Mesa Review #31 (Spring 2015). Nominated for the 2015 Best of the Net anthology.

On Charles D’Ambrosio’s Loitering: new and collected essays in Word Riot (December 2014).

25 Points on Fare Forward: Letters from David Markson in HTMLgiant (June 2014).

“Real Life in the Heady Days of Dial-Up” in Frequencies vol. 4 (Summer 2014).

“Why I am Not a Poet” in jmww (Fall 2013).

25 Points on Antoine Wilson’s Panorama City in HTMLgiant (January 2013).


“Schopenhauer Solves Despair” in Firmament (forthcoming winter 2023).

“Schopenhauer’s Cross” in 3:AM (Oct. 4, 2022).

“Schopenhauer’s Nosebleed” in The Rupture (April 2022).

“Schopenhauer Smokes” in 3:AM (April 27, 2021).

“Schopenhauer’s Final Encounter with Nietzsche” & “Schopenhauer by the Sea” in Big Muddy #20. Fall 2020.

“Burns & Helen, Past & Present” in Puerto del Sol (January 2019).

“On the Corner of Admiral & Lewis,” “On the Corner of Archer & Main,” & “Lake Yahola” in Big Muddy #18.2 (Fall 2018).

“Nebraska” in The Collagist #94 (December 2017).

“Because You Can’t Die Now” in The Mondegreen #3 ( July 2015).

“Who They Were” in Yalobusha Review (February 2015).

“On the Shore of the Great Salt Plains Lake Near Jet, Oklahoma” in Specter Magazine (online, July 2014, feat. in Longform).

“The Place & the Place-Person” in Parcel (Summer 2014).

“Pawnee Bill, a Children’s Story” in The McNeese Review (2014).

“Lonely are the Alligators” in Sundog Lit #5 (Feb. 2014).

“At the End of the World, Where it is Very Hot” in Vol. 1 Brooklyn (Fall 2013).

“You Appraise Yourself in the Full-Length Mirror” in The Boiler (Summer 2013).


If you’re interested in Nate’s yatterings about college football, you can find those here, but he discourages it.