Carrie Cogan attended Vassar College and holds an MFA in fiction from Vermont College of Fine Arts. Her work has appeared or is forthcoming in Kenyon Review, AGNI, Bennington Review, Nimrod, Pinch, Louisiana Literature, and elsewhere. She is a past winner of the Tennessee Williams/New Orleans Literary Society Fiction Prize and the Kenyon Review Nonfiction Contest.
To work on her first novel, she’s been awarded a MacDowell Fellowship, a Ucross Fellowship, a residency at The Betsy Writer’s Room, and a 2024 Money For Women/Barbara Deming Memorial Fund Grant.
She lives with her sons on an island in the unceded territories of the Coast Salish peoples.
Photo Credit: Finlay McMaster
Writing
“Whoop,” Bennington Review, forthcoming
“Savior Invader” and “Ballet for a Castaway,” Pinch Journal, August 2024
“Lowest of the Low on a High Red Hill,” The Kenyon Review, Winter 2024
“Dear Person Who I Loved, Back When I Mistook Letters for Love,” AGNI, Spring 2022
“Birds of Paradise,” Louisiana Literature, Spring 2016
“The Filthiest of Shiny Things,” Numero Cinq, November 2011
“What It’s Like Living Here,” Numero Cinq, November 2010
“Birthday Boy,” Nimrod Journal, Winter 2004
Awards & Fellowships
Ucross Foundation Residency, October/November 2024
Money for Women/Barbara Deming Memorial Fund Grant, 2024
Artist in Residence, The Betsy Writer’s Room, April 2024
Finalist, Marianne Russo Award, Key West Literary Seminars, 2023
Kenyon Review Nonfiction Contest Winner, 2023
MacDowell Residency, Mary Carswell Fellow in Literature, November/December 2022
Disquiet International Literary Contest, Fiction Longlist, 2022
First Pages Prize, 2nd Place, 2020
Tennessee Williams/New Orleans Literary Society Fiction Contest Winner, 2015
Katherine Anne Porter Prize for Fiction, Nimrod International Journal, 2004
“The voice is electric and immediate, the setting beautifully and vividly rendered, and the writing itself is tight and lyrical without ever calling attention to itself. A tremendously smart and evocative story by a writer who appears to have talent in spades. ”
“The voice of this essay moved like wind through hollowed-out bone, to borrow one of its countless haunted images. There’s an electric and infinitely compelling relationship dramatized here between various dimensions of the self—past and present, person and pathology—and pivots of mind and heart, moments of insight and feeling, that I will never forget.”
“She’s about as shy as Mussolini.”
—Leonard Cohen
contact: cogancarrie@gmail.com