Natalie Bakopoulos is the author of The Green Shore (Simon & Schuster, 2012). Her second novel, Scorpionfish, will be published by Tin House Books in 2020. Her work has appeared in Glimmer Train, Granta, Iowa Review, Michigan Quarterly Review, Mississippi Review, the New York Times, Ninth Letter, Tin House, Virginia Quarterly Review, and the 2010 PEN/O. Henry Prize Stories. She is a former Fulbright Scholar (Greece), and has received fellowships from the Camargo Foundation, the Sozopol Fiction Seminars, and the MacDowell Colony. She’s an assistant professor at Wayne State University.
“Though Indelicacy does not announce itself as autofiction, it shares with autofiction what I find to be the most fundamental aspects of the genre: the act of writing becomes inextricable from the story being told.” Natalie Bakopoulos reviews Amina Cain’s debut novel.
“If friendship is the shared shore, sometimes you’re standing on solid ground, and sometimes you’re the one at sea:” Elizabeth Ames talks with Natalie Bakopoulos about her debut novel, The Other’s Gold.
From the Archives: “The narrator has spent most of her life in other people’s shadows, but through her storytelling asserts an identity that’s no longer tethered to another, one released only by disgrace.”
“Driscoll is the master of capturing a delicate humanity where most people might be least likely to look”: Natalie Bakopoulos on Jack Driscoll’s The Goat Fish and the Lover’s Knot, out this spring from Wayne State University Press.
“The narrator has spent most of her life in other people’s shadows, but through her storytelling asserts an identity that’s no longer tethered to another, one released only by disgrace.”
“I heard Marilynne Robinson say once that “we can never escape the landscape of our preoccupations.” I was struck by that phrase and I think of it all the time, the landscape of our preoccupations. I feel liberated by it.”
Douglas Trevor talks about his debut novel, Girls I Know, how the narrative voice of a silent character can expand in fiction, the way landscapes—human and natural—can rebound from death, and more.
In her latest novel, Zadie Smith challenges the very notion of what we talk about when we talk about realism.
Marriage is so last century. Natalie Bakopoulos contemplates the demise of the marriage plot and Jeffrey Eugenides’s complex, undermining revival of it in his aptly-titled novel, The Marriage Plot. Is love still the ultimate trump card? Dear reader, it is. With some qualifications.
Editor’s note: What? Isn’t Short Story Month over? Yes, it is—but that doesn’t mean we stop loving short stories. So here’s an encore round of “Stories We Love.” In “Map of the City,” a story from her new collection Separate Kingdoms, Valerie Laken portrays the life of an American college student in perostroika-era Moscow. The story is brilliantly structured—the names of Moscow metro stations head the various sections, each of which captures a new moment in time and space and thereby mimics the experience of using the subway: you descend into one station and resurface at another. Perestroika, after all, […]
Surprising Things Can Happen: An Interview with Kristen Roupenian
Part of a Bigger Conversation: An Interview with Rebecca Makkai
If You See Me, Don’t Say Hi: An Interview with Neel Patel
Sometimes Taking Things Out Counts as Writing: an Interview with Celeste Ng
Influences: An Interview with Tobias Wolff
Stories We Love: “Blue Lenses,” by Daphne Du Maurier
Stories We Love: “White Angel,” by Michael Cunningham
Stories We Love: Donald Barthelme’s “The School,” In Which is Revealed the Meaning of Life
Stories We Love: "A Small, Good Thing" by Raymond Carver
Stories We Love: "The Fall River Axe Murders," by Angela Carter
