“I’ve heard readers say they see their own relationships to food and body image in the book and there’s real power in seeing oneself represented that way”: Noley Reid in conversation with Annie Hartnett about her novel Pretend We Are Lovely, published this summer by Tin House Books.
“As a fiction writer I am used to hiding behind the word ‘I'”: Margot Livesey chats with Emily Gray Tedrowe about inspiration, teaching, and The Hidden Machinery, her new book of craft essays, out now from Tin House Books.
Barrett Bowlin sits down with Jennifer Pashley over cocktails just before her tour to promote the release of The Scamp, talking with her about this new book, her literary and musical influences, true crime sagas, and, inevitably, dead bodies.
Preeta Samarasan finds South African novelist Marlene van Niekerk’s Agaat to be transformative. The story of an Afrikaner woman and the black servant who has worked for her for most of both their lives, Agaat examines relationships of race and power between the two women by employing a stunning combination of structural intricacy, stylistic range, and daring allegory.
In these thirteen stories, which move from gritty realism in the first half to magical realism in the second, characters are constantly engaged in the act of narrative construction. Again and again Morris structures his stories to obscure actual events, thereby forcing the characters to remember, speculate, or fantasize them into being, much like writers do. Only these characters are not writers—they are a meth addict, a car salesman, a bartender stranded on a desert island.
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