Tilling Our Unique Little Plots of Literary Land: An Interview with James Hannaham
From the Archives: Why invent a dystopia when there are so many real dystopias out there in the world already?
From the Archives: Why invent a dystopia when there are so many real dystopias out there in the world already?
“My most general advice to writers working on historical fiction is to do as I say, and not as I did, and to try to relax at least a little, and trust in both the power, and the necessity, of imagination”: Caitlin Horrocks talks with Marian Crotty about her novel, The Vexations, as well as how short fiction helped her prepare for a longer project, her work as an editor at Kenyon Review, and more.
Aaron Brown talks with Chigozie Obioma about his new novel, as well as Igbo history and cosmology, predestination and determinism, narrative construction, and more.
Alice Miller talks with Katharine Dion about her debut novel, the thorniness of sincerity, the way a poem leaps, and the crucial gift of staying alert.
“I believe that a little piece of the supernatural, of the metaphysical, and of the unknown placed within the realm of the known is how—at least to the West African mind—the world works.”
In the conclusion of Sebastian Matthews’s five-part interview with Julianna Baggott (who also writes as Bridget Asher and N.E. Bode), the two discuss lyricism, reviews, and “Baggot being Baggott.”
In Part II of Sebastian Matthews’s five-part interview with Julianna Baggott (who also writes as Bridget Asher and N.E. Bode), the two discuss writing the Pure Trilogy, research and revision.
In Part I of Sebastian Matthews’s five-part interview with Julianna Baggott (who also writes as Bridget Asher and N.E. Bode), the two discuss pseudonyms, writing philosophy and the author-reader relationship.
Adam Rapp—novelist, playwright, musician, and director—on creating scenic tension: “Asking questions about exits and entrances and trying to keep people in rooms is the ultimate goal.”
“Even though recent history might seem to have betrayed Bezmozgis’ intentions, what’s important in The Betrayers are the people who live, toil, and suffer in Crimea and Israel-Palestine.”
