Taking cues from everyone from Don DeLillo and Toni Morrison to Roland Barthes and Carmen Maria Machado, Ayşe Papatya Bucak questions a key principle of conventional craft wisdom.
Entering a piece of writing in a collaborative way is at the heart of what Fowles called the “I-thou” theory: no matter how many times a book is read, it is fundamentally a relationship—an encounter—between just two people.
From the Archives: Here, triangulated between the grit and hardship of necessity, the loneliness of nature and a reverence for it, and the migrations of good and decent hearts—or, at least, hearts that strive in clumsy, sometimes self-defeating ways to be so—through a world that feels cold or, worse, actively hostile to their concerns, Bonnie Jo Campbell has located and renewed the rural ache.
From the Archives: In a Strange Room chronicles Damon’s travels as he journeys from Greece, to various countries in Africa, to India. Traveling, in general, disorients. We are displaced from our normal locations, we are observing places that are not our own, and our minds constantly compare the new, foreign place with the familiar one.
From the Archives: Christopher Mohar talks with Anthony Doerr about the politics of writing, the importance of curiosity, the role science plays in his fiction, why he likes the novella as a form, and how we can successfully inhabit characters different from ourselves.
From the Archives: Peter Turchi on the art of disclosure from the 2010 AWP Panel “What to Say and When to Say It: Disclosure of Information for Optimal Effect in Fiction.”
From the Archives: Michael Byers on how to succeed—and fail—in the first person.
“We need to stop pretending the story just comes on its own and isn’t within the writer’s control.” Matthew Salesses and Ayşe Papatya Bucak talk craft, workshop, and his new book, Craft in the Real World, out now from Catapult.
“To love and to express it is to be vulnerable. To create works of art is to be vulnerable, and it’s hard for people to let themselves be vulnerable. Especially in this world, where the internet lets us democratically savage one another, it’s even scarier, but the courage to be an artist means also the courage to love and to express it.” So says Robert Olen Butler in this candid interview with Emily Alford.
“The most important part of a character’s Wounding Event is the darkness and fear it represents, a darkness that the character will soon have to face head on—as will we”: Michelle Hoover on stories that put characters’ flaws and fears to the test.
