Andrew Krivak spent eight years preparing to become a Jesuit priest before he turned to writing. He talks with Steven Wingate about his debut novel The Sojourn, borrowing from family history, and the spiritual nature of the sniper’s profession.
A shoebox full of the mementos of a Parisian woman Sparked Elena Mauli Shapiro’s debut novel, 13, rue Thérèse. The objects fall into the hands of a fictional researcher, and through the sifting of photographs, letters and souvenirs a life emerges. Steven Wingate and Shapiro discuss research, happy accidents, and the power of what we save.
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.
”The more books we read, the clearer it becomes that the true function of a writer is to produce a masterpiece and that no other task is of any consequence.” —Cyril Connolly
“Young writers should be encouraged to write, and discouraged from thinking they are writers. If they arrive at college with literary ambitions, they should be told that everything they have done since their first childhood poems, printed in the school paper, has been preparation for entering a long, long apprenticeship.” —Wallace Stegner, On Teaching and Writing Fiction
“Stopped hanging other people’s art.”
— a journal entry by Ad Reinhardt (1913-1967)
“One is not born a genius, one becomes a genius.”
— Simone de Beauvoir
“Were I called on to define, very briefly, the term Art, I should call it ‘the reproduction of what the Senses perceive in Nature through the veil of the soul’.” –Edgar Allan Poe
“Everywhere I go, I’m asked if the universities stifle writers. My opinion is that they don’t stifle enough of them.” — Flannery O’Connor
It’s hard to argue with your heroes, though it’s significantly easier after they’ve died. Flannery O’Connor—the first writer I wanted to be—refers in this quote to creative writing workshops, which were just becoming the new standard for writerly apprenticeship when she launched her career. But I don’t have the same issues as she had with the workshop paradigm as it’s now practiced, or with the proliferation of creative writing programs.
“Always give your characters their best shot.” — Stuart M. Kaminsky
As writers, we can add on (and on) to the external details of a character, trying to make that person real in the way that Pinocchio hopes to become so. Theoretically, we might be able to acquire enough details in a personality inventory for our readers to accept our characters as convincing. But ultimately, as Stuart Kaminsky knew, this way of creating character doesn’t work because it’s the subtext of our characters’ lives that make them real. Using the “inventory” process to get to know them is fundamentally flawed because it makes us lazy.
