Lee Thomas is a fiction writer. She was the Managing Editor of FWR from 2010-2013. Her work has appeared in The New York Times, The San Francisco Chronicle, The Charlotte Observer, and elsewhere. She lives in Los Angeles, where she is finishing a story collection.
“Re-reading this story now, after the terrible years of Covid, in the shadow of the ghastly war in Ukraine, as famine stalks Africa and the Middle East, one understands the dream of escape.” Lee Thomas on Tamas Dobozy’s story “The Restoration of the Villa Where Tibor Kálmán Once Lived.”
From the Archives: Why do we love Sherlock Holmes? The famed detective nearly sent his creator off the deep end, and has been the object of countless films, odes, debates, letters, and pilgrimages over the past century.
From the Archives: Your one person dies. Does life’s plot float away like a sinister version of the house in Up? Amelia Gray’s debut novel, Threats, gets cozy with chaos. Anxious? You damn well should be.
“I’m interested specifically in the inner turmoil, the emotional price and weight, of self-betrayal and deception as it is experienced and enacted by queer people.” Lee Thomas talks with Peter Kispert about his debut collection.
“I love work that examines what it’s like to be a woman struggling to act as an autonomous person inside a place or a culture that’s very invested in telling you how to act, how to do your gender”: Ashley Wurzbacher talks with Lee Thomas about her debut collection, Happy Like This, the complexity of female friendships, resisting gender narratives, and more.
“It took me writing these stories to understand that I’d been carrying rage with me, and what I’d done to suppress it even as I didn’t believe in suppressing it”: Danielle Lazarin talks with Lee Thomas about her debut collection, Back Talk.
In this 2009 interview from our archives, Lee Thomas talks with Aravind Adiga about neo-realism, myth, and being a misfit.
“Somewhere by the second page, I realized my early questions hardly mattered. Something marvelous and magical had begun to unspool across the page and hang-ups about structure or how much autobiography a reader could assume were wholly irrelevant”: Lee Thomas on the rules Steven Millhauser’s “A Voice in the Night” defies.
Miroslav Penkov wins the BBC prize; plus the importance of money to art.
It was a wild night on the East Coast. For several hours, as late as yesterday afternoon, it felt on the ground like the threats and warnings and evacuations might be overblown, a product of a media hungry for Events and glued-to-the-television-worthy programming in the midst of election fatigue. Well. The power’s out on much of Manhattan south of 42nd street, which meant blackness last night as far as the eye could see, the dark hulking shadows of tall buildings. The images of houses along the Jersey shoreline with water to the second floor. The flooded subway tunnels. The several […]
