Paul Lynch’s debut novel, Red Sky in Morning, reads like the love child of a painter and a poet. Lynch uses dense, rhythmically mesmerizing and sometimes obscure language that begs us to pause and linger over each phrase.
“These spare pages please and engage the eye, heart, and mind, like leaves in a chapbook. Liliane’s Balcony is a small elegant book in every way. Readers will be inspired to visit Fallingwater and listen for Liliane’s voice above the falls.”
Alex Shakespeare talks with William Boyle about his first novel, Gravesend, which releases this month, as well as leaving a place to write about it, crime as character study, and what we get from novels that we can’t find in other art forms.
What might the post-postmodern, contemporary Holocaust novel look like, and what should it strive to do?
Albena Stambolova’s short, fable-like novel Everything Happens As It Does brings a whole new sensibility to the body of English translations from her native Bulgaria’s contemporary literature.
Nina Buckless talks with Peter Orner about his most recent collection, Last Car Over the Sagamore Bridge, as well as writing silence, where characters think they belong, and how gossip can reveal story.
Elizabeth Cohen chats with Assistant Editor Claire Skinner about The Hypothetical Girl, her new collection of short stories, as well as the human heart, online dating, and making a life as a writer.
Elliott Holt turns the tables on friend and fellow author Laura van den Berg in this interview. The two return to FWR to talk about van den Berg’s new collection, The Isle of Youth, as well as self-doubt, the differences between writing short stories and novels, Florida, and trains.
The stories in Patricia McNair’s The Temple of Air are unified by recurring characters and a central setting: New Hope, Michigan. City dwellers come to this small town for a slower life only to discover that the rural landscape does not necessarily create ease or simplicity. Mark Elevad poses five questions to the author about her work and this debut collection.
“I am tempted to spin you a story about a chance boyhood encounter in the deep forest with a wild hog that left me scarred and terrified and thus writing out my fear and horror for the rest of time, but I’ll restrain the impulse.” Pinckney Benedict talks with Mary Stewart Atwell in this second interview in a series on rural fiction.