“I don’t believe that you can totally shed your old self (sorry, family from my first novel), but neither do I believe that identity is perfectly portable”: Bryan Furuness talks with Philip Graham about his new novel, Do Not Go On, books that are “suspenseful and insightful,” and more.
“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.
From the Archives: Neelanjana Banerjee talks with Helen Oyeyemi about why she’s drawn to supernatural subjects (but not “magical realism”), why vampire stories are really about race, and how to write stories that will freak your readers out.
“For me, the setting of a novel is the novel in many ways, and it seems right to devote time and space to establishing the geography and history of the place. This forms a frame inside which the rest of the story takes place.” Andrew Michael Hurley talks with Steven Wingate about rural England, the “ghost story” spirit, and developing writerly patience.
“And then it came to me that instead of writing a literary book about motherhood, I’d write a suspenseful book about motherhood”: Aimee Molloy talks about motherhood, the difference between writing fiction and nonfiction, and her debut novel, The Perfect Mother, out next week from HarperCollins.
Percy has turned himself into a cross-medium, cross-genre success whose unabashed embrace of work outside the narrow confines of literary fiction is opening up new opportunities and allowing him to have a hell of a good time.
JT Torres talks with Don Reardon about his debut novel, The Raven’s Gift, and how “survival” impacts his philosophy of teaching, writing, and life, as well as what it means to write Alaska today.
Stephen King’s 1978 Night Shift takes advantage of the “safe” scare, but the story collection’s real artistry is in accessing his reader’s willingness to endure “safe” fear and turning it on the reader himself.
Stephen King’s newest novel, Joyland, is set in a North Carolina amusement park during the summer of 1973. Like the attractions that populate the book, it’s a read perhaps more enjoyable for the ride than the destination.
