“Sometimes I read pronouncements on Twitter like, ‘Let’s face it, there’s no reason a book should ever be 500 pages long,’ and I always think, of course there should be 500-page books. And fifteen-page books. There should be every kind of book.” Jenny Shank talks with Paula Younger about her new collection.
“While I admire a good dystopia as much as the next politically disillusioned person, I think the future needs the power of our imaginations to generate hopeful alternatives.” Melissa Scholes Young talks with Joy Castro about her new novel, Flight Risk.
“Whether a novel is set in motion by a strange event, has an incredulous premise, or is riddled with bizarre scenes and interactions, they all demand a compelling response that aligns with the physics of the fictive world.” Andrew Felsher on how strangeness in fiction can illuminate and reveal.
Polly Stewart talks with Laura McHugh about her new book, What’s Done in Darkness, as part of Stewart’s “Women Crime Writers” series.
“Perhaps this is what is so successful about Those Fantastic Lives: the collection goes beyond familiar narratives of the supernatural by asking why we are afraid of monsters and ghosts, and the things we cannot explain…” Costa B. Pappas reviews Bradley Sides’s debut collection.
Becky Hagenston and Erin Flanagan sit down to talk about Hagenston’s latest collection, The Age of Discovery, process and routine, and more.
Ruth Linnea Whitney and Nancy Kilgore discuss Bitter Magic, Kilgore’s third novel.
Dylan Colvin sits down with her former teacher, Erin Flanagan, to discuss Flanagan’s new novel, Deer Season.
“Every story begins with a feeling…And then I sit down, and try to build a house, and put that feeling inside, where it can live forever.” Kristina Gorcheva-Newberry talks with Ian Singleton about her debut collection.
Julia Watts and Eleanor J. Bader sit down to talk about Watts’s new novel, Needlework, Appalachian culture, queer visibility, and the changing South.
