From the Archives: Mary Stewart Atwell inaugurates a series of interviews with writers of rural fiction, undertaken in partnership with The Art of the Rural, by talking with Jack Driscoll.
Polly Stewart talks with May Cobb about her new novel, The Hunting Wives, as part of Stewart’s “Women Crime Writers” series.
Polly Stewart talks with Laura McHugh about her new book, What’s Done in Darkness, as part of Stewart’s “Women Crime Writers” series.
“I just kept on telling myself, ‘All you need to worry about right now is what’s happening in this scene.’ Then I’d go forward page by page, sentence by sentence.” Angie Kim talks with Polly Atwell about her debut novel, Miracle Creek, as part of our Women Crime Writers series.
“If you can find that sweet spot between what the market is favoring but also what calls to you as an artist, you can’t top that combination”: Jessica Knoll talks with Polly Atwell about writing, success, suspense, and more in the latest installment of Atwell’s new interview series with women crime writers.
“I feel like genre is one of those terms that is becoming less clear and even less relevant all the time”: Janelle Brown talks with Polly Atwell about her new novel as part of a new interview series with women crime writers.
In her inaugural interview with women crime writers, Contributing Editor Polly Atwell talks with Amy Gentry about women’s truths, the influence of Henry James, likeability, and her new novel.
“That’s how the work gets done. No shortcuts, no strategies to make the process easier than it ever can or will be”: Jack Driscoll chats with Mary Stewart Atwell about his latest collection, The Goat Fish and The Lover’s Knot.
Mary Stewart Atwell talks with Alan Heathcock as part of her interview series with writers of rural fiction, undertaken in partnership with The Art of the Rural. The two discuss Heathcock’s debut collection, Volt, as well as his Midwestern influences, film, politics, and more.
“The fetishization of Devon’s body reveals the uncanniness of the ‘normal’ teenage body, held up as the ideal of beauty and desirability though it is, in a sense, incomplete”: Mary Stewart Atwell reviews Megan Abbott’s latest novel.
