Part II of Peter Turchi’s essay on shifting narrative distance in third person fiction continues with an examination of the techniques used by Jenny Erpenbeck in her novel Go, Went, Gone and Adam Johnson in his story “Hurricanes Anonymous.”
“There is nearly always a difference between the story the narrator understands and wants to tell, and the story the character would tell. That’s why the story is in the third person.” Part I of Peter Turchi’s essay on shifting narrative distance in third person fiction.
Sofie Verraest talks with Lydia Davis about her new book, Essays One, as well as the difference between writing essays and stories, the role of “coherence” in each genre, the climate crisis and the role of writers, and more.
“It’s as if I hadn’t really read the work until I wrote the essay.” Benjamin Woodard interviews Douglas Glover about the art of the craft essay and his recent collection of them, The Erotics of Restraint, out now from Biblioasis.
“After all, when there are few places to physically go in a story, every movement counts.” Alyson Mosquera Dutemple inhabits the limited settings of John Updike’s “A&P” and Stewart O’Nan’s Last Night at the Lobster.
“I don’t believe that you can totally shed your old self (sorry, family from my first novel), but neither do I believe that identity is perfectly portable”: Bryan Furuness talks with Philip Graham about his new novel, Do Not Go On, books that are “suspenseful and insightful,” and more.
“No matter how well-documented the history of a family home may be, there are gaps… I revel in the license to move into those uncharted spaces; to take a leap of faith from the springboard of memory into the untethered dimension of the imagination.” Ellen Prentiss Campbell on dreams, intuition, and following “the vapor trail of memory” in fiction.