Stories We Love: “River Dog,” by Andrew Porter
“The narrator’s voice is earnest and haunted”: Joshua Bodwell on why he loves Andrew Porter’s “River Dog.”
“The narrator’s voice is earnest and haunted”: Joshua Bodwell on why he loves Andrew Porter’s “River Dog.”
“The inner landscape is something fiction can do far better than any other narrative art”: Tim Weed with Art Hutchinson on travel, reality, and his new collection, A Field Guide to Murder and Fly Fishing.
“There I was, hiding in plain sight”: Kate Southwood on the impulse to uncover the truth behind the fiction.
“Lucy’s the disturbing stone thrown into a still, dark pond”: Ellen Prentiss Campbell on Elizabeth Strout’s new novel, Anything Is Possible.
“I try to write about enduring human frailties”: Paul Vidich and Paula Whyman chat about publishing later in life, family, and Vidich’s new novel, The Good Assassin.
“My final suggestion is to feel free to ignore all of the above advice or any other ‘shoulds'”: Ann S. Epstein with Danielle LaVaque-Manty on self-teaching, researching historical fiction, and her debut novel, On the Shore.
“Appreciation, not vivisection, is his goal”: Julian Anderson on My Back Pages, critic Steven Moore’s collected reviews and essays, out this month from Zerogram Press.
“It didn’t really occur to me that my stories were so much about sex until I started getting the blurbs for my book”: Siel Ju chats with Michelle Ross about her new novel-in-stories, Cake Time.
“So how did Sansal pull this off?”: Jenn Solheim on dystopian narrative authority in Boualem Sansal’s 2084.
“I’m very much a second draft person”: Dan Chaon and Amy Gustine talk structure, process, and Chaon’s new novel, Ill Will.
