Mind the Gap: Narrative Distance in J. M. Coetzee’s Slow Man
by Maggie Kast
“But what happens if the author walks into the story and turns up on the page?”: Maggie Kast discusses narrative distance in Coetzee’s Slow Man.
“But what happens if the author walks into the story and turns up on the page?”: Maggie Kast discusses narrative distance in Coetzee’s Slow Man.
“But—let’s face it—literary fiction has become a genre of its own”: Benjamin Percy chats with Brandon Dudley about his latest novel, genre fiction, fatherhood, and more.
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“I’m fatigued by the idea that there is police tape around content”: Elise Blackwell talks with Alan Heathcock about genre, New Orleans, and her new novel, The Lower Quarter.
“By peppering his prose with subtle, sinister details,” Jacob M. Appel argues in this craft essay, “Chaon manages to create a subtext of tension that supports the weight of the story’s content.”
“I was feeling quite self-satisfied when I showed [Dean Bakopoulos, friend and novelist] the passage that described Carolyn. I showed it to him because I thought, ‘Oh, he’s going to get a kick out of this; it’s pretty funny.’ And he comes back with, ‘Yes, it is funny, you’re right. But you can’t do this to her. She needs to have some dimension.’ I get those reminders in real life, too.” Mindy Misener chats with Michael Perry about his new novel, The Jesus Cow, and his transition from non-fiction to fiction.
“Yet the author’s honesty leaves everything on the table through every page turned”: Brian Bartels on Matt Sumell’s new collection, Making Nice.
“But quickly enough this tale reminded me of what I love about Baxter”: Jim Nichols on Charles Baxter’s story “Scissors.”
“…there’s always something more you can take out…”: Jim Nichols with Joshua Bodwell on his influences, Maine, and his new book, Closer All the Time.
“This kind of consummate attention is what I feel called to as a fiction writer”: Nathan Poole with Rolf Yngve on writing, nature, and faith.
