MEGAN HARLAN's essays have appeared or are forthcoming in AGNI, Colorado Review, Hotel Amerika, Alaska Quarterly Review, Arts & Letters, and the Cincinnati Review. She has been awarded the Arts & Letters Prize for Creative Nonfiction and cited as distinguished in Best American Essays 2018 and 2019. Her first book, Mapmaking, won the John Ciardi Prize for Poetry. She works as a writer and editor in the San Francisco Bay Area.

In prose rooted in the arc of an unsentimental education, Megan Harlan moves us through her unmanifest destiny, using the essay sharply as she takes us through the doors and tunnels, roads and bridges, trailers and cities, the spiders and fairies of her memory. Mobile Home is architectural and geographical, philosophical and historical, but always with an eye on the establishing shot: the nomadic Bedouin image of Harlan's childhood that serves as a metaphor for our own extreme mobility. ‘I don't know where I'm from, but who wants to hear that?’ she asks. We do, most emphatically.

MEGAN HARLAN's essays have appeared or are forthcoming in AGNI, Colorado Review, Hotel Amerika, Alaska Quarterly Review, Arts & Letters, and the Cincinnati Review. She has been awarded the Arts & Letters Prize for Creative Nonfiction and cited as distinguished in Best American Essays 2018 and 2019. Her first book, Mapmaking, won the John Ciardi Prize for Poetry. She works as a writer and editor in the San Francisco Bay Area.

In prose rooted in the arc of an unsentimental education, Megan Harlan moves us through her unmanifest destiny, using the essay sharply as she takes us through the doors and tunnels, roads and bridges, trailers and cities, the spiders and fairies of her memory. Mobile Home is architectural and geographical, philosophical and historical, but always with an eye on the establishing shot: the nomadic Bedouin image of Harlan's childhood that serves as a metaphor for our own extreme mobility. ‘I don't know where I'm from, but who wants to hear that?’ she asks. We do, most emphatically.