Quiet Moments: A Conversation with Nawaaz Ahmed
by Nishanth Injam
Nawaaz Ahmed and Nishanth Injam sit down to discuss Ahmed’s debut novel, Radiant Figutives, out now from Counterpoint Press.
Nawaaz Ahmed and Nishanth Injam sit down to discuss Ahmed’s debut novel, Radiant Figutives, out now from Counterpoint Press.
Hasanthika Sirisena and Anjali Enjeti discuss how Enjeti researched, crafted, and published her debut novel, The Parted Earth, out now from Hub City Press.
“But if we don’t try, if we don’t look privilege squarely in the eye, then privilege is all we will see.” In part II of this essay on subject position in fiction, Leah De Forest looks at Z.Z. Packer’s “Brownies” and J.M. Coetzee’s Disgrace.
“The focus here isn’t on point of view, but on positioning: a way of thinking about who a character is as well as who they are in relation to the others in the world of the story.” In part I of this essay on subject position in fiction, Leah De Forest explores Allan Gurganus’s “Blessed Assurance.”
Eleanor J. Bader talks with Lee Zacharias about her new novel, the zeal of the 1960s and 70s, and the momentum that led some activists to embrace violence.
“Writing about characters who decide to stay is a way to maybe imagine a different life for myself, and to better understand the folks who are still there, to feel closer to them.” Dariel Suarez talks with Tim Weed about his debut novel, The Playwright’s House, which takes place in Havana.
“Despite how powerfully the objects of our lives might obsess us or orient our attention, they are but one aspect of a larger lived experienced.” Costa B. Pappas on Clare Sestanovich’s debut collection, Objects of Desire, out soon from Knopf.
“Site Fidelity is a delight to read at the sentence and individual story scale, but it truly becomes a marvel when viewed as a collection.” Michael Welch reviews Claire Boyles’s debut story collection, out soon from W.W. Norton.
Alexander Weinstein and Garry Craig Powell discuss spirituality, vulnerability, and Weinstein’s latest collection, Universal Love.
“Manning and Som’s work don’t feel brave necessarily in subject matter—a well-established queer literature exists—but in their refusal to pander to their literary audience, to provide anything that looks like false intimacy.” Hasanthika Sirisena on our assumptions about interiority and representing queer experiences in short fiction.
