“The narrator has spent most of her life in other people’s shadows, but through her storytelling asserts an identity that’s no longer tethered to another, one released only by disgrace.”
“We read a ton of bad writing on the Internet, and I think people are content with low quality until they are shown something better”: Zan Romanoff with Emma Gordon on getting paid for your work, the 2016 election, and her debut novel, A Song to Take the World Apart.
Patrick Ryan on the pitfalls of penning a period piece, the interesting part of writing villains, and the joys and anxieties of editing Alice Munro and Joy Williams
“This collection, as a whole, is not about the Space Age, per se. Still, that place and time exquisitely inflect each story.”
“The fetishization of Devon’s body reveals the uncanniness of the ‘normal’ teenage body, held up as the ideal of beauty and desirability though it is, in a sense, incomplete”: Mary Stewart Atwell reviews Megan Abbott’s latest novel.
“Grace Paley shows us one way in which the heretofore old-fashioned, third-person omniscient perspective might be one of contemporary fiction writers’ greatest tools to elicit empathy for characters.”
“Those are the moments when the book comes alive, precisely the moments when you, the author, seem to have the least say-so over it”: Lamar Herrin talks with Paul Cody about Southern writing, Homer, and his new novel, Father Figure.
“They were various versions of American realism, reflections of an American writing style that felt to me like a costume”: Derek Palacio chats with Gabriel Urza about The Mortifications, his new novel.