Enchanted Islands, by Allison Amend
“Amend does a remarkable job making Frances’s story feels less like a novel and more like a real life”: Tyler McMahon on Allison Amend’s new novel, Enchanted Islands.
“Amend does a remarkable job making Frances’s story feels less like a novel and more like a real life”: Tyler McMahon on Allison Amend’s new novel, Enchanted Islands.
“Thank you, Louise Erdrich, for heartbreak mitigation”: Ellen Prentiss Campbell on Erdrich’s latest novel, LaRose.
“This astonishing flip–that human perception is the world’s foundation–comes to the fore again and again in the bright worlds of Cooper’s meditations on care”: Denise Dooley on Desiree Cooper’s debut collection, Know the Mother.
“Ozzie’s sacrificial journey is a typical Rothian romp. It’s also meticulously made”: Michael Byers on how Philip Roth pulls off allegory in “The Conversion of the Jews.”
“Is unlikeable also unsympathetic? I don’t think so”: Paula Whyman chats with Melissa Scholes Young about her debut collection, You May See a Stranger.
“It is as if I’m standing right there with them listening and watching their stories evolve”: Dixon Hearne talks with David Armand about his academic background, his writing process, and his new collection, Delta Flats.
“With these folks, the trouble stews in the heart”: Jodi Paloni talks with Philip Graham about her debut story collection, They Could Live with Themselves (Press 53).
“The writer’s first tool—even more important than language—is empathy”: Michael Byers on ZZ Packer’s “Brownies” as a story about becoming a writer.
“The delicious narrative freedom of being in charge of the universe, and then the universe we’ve created takes over”: Ellen Prentiss Campbell talks with Susan Scarf Merrell about her path to writing and her forthcoming novel, The Bowl with Gold Seams.
“How do we navigate, and then translate, the past’s lost and often foreign landscape?”: Mary Volmer on taking a traveler’s approach to writing historical fiction.
