“When you say that I’m prolific, I never think of myself that way because I really don’t spend all day writing for the most part. But I do write almost every day. It just adds up.” Leigh Camacho Rourks talks with John McNally about his new collection, The Fear of Everything.
“I loved researching this book, finding out about chronophotography, pictorialism, the 1906 earthquake, and the artists of the time.” Ron Nyren talks with Margot Livesey about his debut novel, The Book of Lost Light.
“Like plot, adulthood is a scam, and Lau wants us to feel the discomfort of a coming-of-age story that resists epiphany and catharsis.” Josie Tolin reviews Jamie Marina Lau’s Pink Mountain on Locust Island, published by Coffee House Press.
“In contemporary life, sports are a lot like politics or religion in that they activate these very deep-seated affinities, which we re-enact continuously, and often without examination.” Melissa Scholes Young talks with Katherine Hill about her new novel, A Short Move.
Jennifer Solheim on the art of telling in Nathacha Appanah’s Tropic of Violence, examining how the author’s “use of perspective and authority might serve as an example of how writers can develop characters whose social identities are different from their own, in ways that are palpable, believable, and move beyond empathy.”
“I don’t feel compromised by the genre.” Jennifer Pashley talks with Barrett Bowlin about her first thriller, The Watcher, out now from Crooked Lane Books.
“I wish I had a great answer to the question of finding the right mix of pursuing activism and art, but it comes down to simply using one’s time as effectively as possible.” Steven Wingate talks with David Heska Wanbli Weiden about his novel Winter Counts.
“How many breakthroughs like that can a writer have?” Pamela Painter chats with Steve Yarbrough about her work over the years and her new collection, Fabrications: New and Selected Stories.
“It is Ndiaye’s voice—resonate, ruthlessly matter-of-fact, deeply wounded—which will be our light in this blood-soaked landscape of rusting barbed wire and whizzing shrapnel.” Travis Holland reviews David Diop’s At Night All Blood is Black.
“I think the South is worth fighting for, with all its issues. I think it’s worth fighting for change here.” Eleanor J. Bader interviews Kasey Thornton about her debut collection, Lord the One You Love Is Sick, the writing process, and life in the contemporary South.
