Reading Deanna Fei’s debut novel, A Thread of Sky, rescued Kate Levin from a giant post-MFA funk. In this conversation with Levin, Fei discusses the role cultural identity plays in a writer’s persona and work, the value of unknowability, the secret to writing great sex scenes, the reason she watches Jersey Shore—and more.
In this conversation with FWR’s Laura Valeri, Susanna Daniel discusses her debut novel, the fictional memoir Stiltsville, and shares her insights on the process of writing, the power of quiet stories—which she terms eminently readable—and the perseverance and faith that writers must nurture for their own work.
In her debut collection, Before You Suffocate Your Own Fool Self, Danielle Evans’s characters, like most of us, struggle to belong. Their loyalties to place, to family, and to self are often divided. Melissa Scholes Young interviews the author to find out how the identities we claim or deny often define the people we become.
Where do film noir, post-communist Bulgarian fiction, and black comedy intersect? In Vladislav Todorov’s searing noir-meets-social-commentary novel, Zift. Contributing Editor Steven Wingate and Todorov discuss poisonings, the resurgence of narrative fiction in post-communist Eastern Europe, the idea that “many people enjoyed spying on their neighbors” for the state, and much more.
In Meg Pokrass’ debut collection of flash fiction, Damn Sure Right, each story gives the reader just enough to imagine a universe. Lee Thomas and Pokrass discuss first publication, the harmony between poetry and short short stories, and the soundtrack to the author’s creative process.
Debut novelist Urban Waite enjoys a character-driven thriller, which is exactly what he delivers with The Terror of Living. In conversation with Cam Terwilliger, Waite reveals how the selfish characters of Graham Greene shaped his idea of the perfect book, how an editor who understands the writer’s vision can only help a book, and how flexibility can be the novelist’s best friend.
“We create things that we hope will, someday, become objects of value. In the wake of the 9/11 attacks, many writers–Foer, DeLillo, and Roth, to name just a few–all came out with 9/11 novels. I was initially bothered by this. I wanted to say, ‘Fuck you; I was there.’ This passed for a couple reasons. First was the realization that we’re all survivors of one type or another. Second, these texts can never really become authoritative positions on the experiences of a group of people, no matter how well written they are or how well credentialed their creators might be. There’s no uniform experience of being a 9/11 survivor, no uniform experience of being a woman. These are things that can’t be owned by anyone.”
Lily King’s three novels stand as testaments to the power and endless variation of familial relationships. King’s latest novel, Father of the Rain, tells the story of a daughter’s life-long, primal loyalty to her charming and manipulative father. Interviewer Joshua Bodwell discusses longhand, autobiographical influence, puppies, and how to depict realistic sex, with a writer whose work remains “a beacon of tenderness and sincerity.”
In her conversation with novelist Tracy Chevalier, Felicity Librie uncovers how research fuels the process of character development, how the past sheds light on our present moment, and why Chevalier will never tire of getting lost on a journey of discovery.
After its publication in 2000, the first edition of Betsy Lerner’s The Forest for the Trees: An Editor’s Advice to Writers became one of my students’ favorite writing books, and over time it became my go-to gift to graduating seniors with whom I’d formed a special bond, and whose persistence I hoped to bolster in those daunting years ahead. I even kept a small stash of copies in my office. So it was with great anticipation that I looked forward to this second edition, published in October 2010.
