Linda Kass talks with Eleanor J. Bader about her new book, A Ritchie Boy, the ways fact and fiction merge in the story, and the importance of remembering both our personal and political histories.
“In ways large and small, the task of a novelist who writes about the past is to make it come to life, to find singular details that make the story breathe”: Christina Baker Kline talks with Jennifer Solheim about her new novel, The Exiles.
“As I get older, I’m less attached to this idea of home as a single space, and I try to envision home as something more expansive, more queer”: Carter Sickels talks with Megan Kruse about his new novel, The Prettiest Star,” building community, writing from a place of empathy, and more.
“I have absorbed a lot of influence from writers who are working outside of realism, and I do think that’s probably kind of nudged me in the direction of the strange.” Yohanca Delgado talks with Laura van den Berg about her new short story collection, I Hold a Wolf by the Ears.
September 8th is National Ampersand Day. J. Alison Rosenblitt on the significance of the ampersand to E.E. Cummings and his poetry, as well as its use in the work of Ocean Vuong.
“I think one of the feelings exile produces is a sense of in-between—you’re both within a place and somehow distinctly outside its borders.” Natalie Bakopoulos talks with Jennifer Solheim about her new novel, Scorpionfish, out next week from Tin House Books.
“I want to help advance the kind of crip lit in which people with disabilities are living their lives and doing perfectly fine, to highlight and differentiate the times when disability does and does not matter.” Elizabeth Earley talks with Teresa Milbrodt about her new collection, Instances of Head Switching.
“The novel is narrated as an episodic composite, linked by the author’s narrative conceit: a persistent Argentinian journalist has been seeking to interview elusive, reclusive Watanabe.” Ellen Prentiss Cambell reviews Fracture, by Andrés Neuman.
“I count on memory to work as a kind of filter, and I trust that what sticks in the filter, even if I don’t know why it’s there, is there for a reason.” Michael Welch talks with Larry Watson about his new novel and a career of writing the High Plains.
