An Interview with Chigozie Obioma
“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.”
“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.”
Joshua Furst talks with his long-time friend James Hannaham about influences, origins, forms, and the early critical response to Hannaham’s new novel, Delicious Foods, which is out this week.
“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.”
“More than anything, I wanted this book to take on the processed food industry. As a satirist, I wanted my novel to serve as a kind of corrective to it, if only by asking readers to question what it is they’re eating. But the food industry doesn’t exist in a vacuum, so it’s what it reveals about American life that is really at the center of the novel.”
Paul Lynch’s debut novel, Red Sky in Morning, reads like the love child of a painter and a poet. Lynch uses dense, rhythmically mesmerizing and sometimes obscure language that begs us to pause and linger over each phrase.
Paul Lynch’s debut novel, Red Sky in Morning, reads like the love child of a painter and a poet. Lynch uses dense, rhythmically mesmerizing and sometimes obscure language that begs us to pause and linger over each phrase.
