Ultimately, I wanted The Parted Earth to reflect the way humans are connected to...
“While A Tale For The Time Being and Ozeki’s latest novel both explore the relationship between writer and reader, The Book of Form and Emptiness does so much more directly, which is in part due to its structure and premise.” Rachel León reviews Ruth Ozeki’s new book.
Kirstin Valdez Quade talks with Emily Nagin about turning her story “The Five Wounds” into a novel, the process of following new threads in a narrative, and learning from your characters along the way.
“While dystopian novels often serve as cautionary tales, The Confession of Copeland Cane is less harrowing because of the future it portrays than the mirror it holds up to our present-day situation…” Rachel León reviews Keenan Norris’ latest novel.
Hasanthika Sirisena and Anjali Enjeti discuss how Enjeti researched, crafted, and published her debut novel, The Parted Earth, out now from Hub City Press.
“Every time I write a story, I’m writing it as part of a manuscript or a cycle.” Brandon Taylor talks with Melissa Scholes Young about his short story collection, Filthy Animals, as well as story cycles, social codes, and the Midwestern way of being.
“But if we don’t try, if we don’t look privilege squarely in the eye, then privilege is all we will see.” In part II of this essay on subject position in fiction, Leah De Forest looks at Z.Z. Packer’s “Brownies” and J.M. Coetzee’s Disgrace.
“The focus here isn’t on point of view, but on positioning: a way of thinking about who a character is as well as who they are in relation to the others in the world of the story.” In part I of this essay on subject position in fiction, Leah De Forest explores Allan Gurganus’s “Blessed Assurance.”
Eleanor J. Bader talks with Lee Zacharias about her new novel, the zeal of the 1960s and 70s, and the momentum that led some activists to embrace violence.
“Writing about characters who decide to stay is a way to maybe imagine a different life for myself, and to better understand the folks who are still there, to feel closer to them.” Dariel Suarez talks with Tim Weed about his debut novel, The Playwright’s House, which takes place in Havana.
