In echoes and splices of “narrative sonic bites,” Douglas sets her experimental novel, The Marvellous Equations of the Dread, to the dub pulse of Rasta tradition.
An art exhibition inspired by a novel.
Let’s begin with death. “Let’s say that in the course of all human experience, death is pure conjecture: it is, as such, not an experience. And all that which is not an experience is useless to mankind.” The speaker here is Ledesma, one of a cadre of lovelorn, thoroughly chauvinistic doctors up to no good at a sanatorium just outside Buenos Aires.
The poet’s first novel, Eleanor, or, The Rejection of the Progress of Love, concerns a woman’s unnamed grief, as well as the meta-dialogue between the narrative’s author and the critic reading her manuscript.
The author discusses her forthcoming novel My Year of Rest and Relaxation, fiction as impetus for personal change, and the inhumanity of the creative class.
The novelist on the precarious lives of artists, the oversimplification of trauma narratives, and the importance of building queer, chosen families.
The novelist on her loss of faith, youth culture, cult leaders, and spending time with syllables.
What kind of novel would you write if you had never read a novel before? Would it have the mounting tension of a campfire tale? The breathless cadence of fresh gossip shared with a best friend? If you’re Norwegian writer Gunnhild Øyehaug, you unspool 50,000 words with the inventiveness of Scheherazade and the guilelessness of a Red Bull–fueled, hyperarticulate ten-year-old. This is Wait, Blink.
An anti-novel about the value of the unseen, unknown, and unwritten.
What literature can (and can’t) tell us about America’s criminal justice system.
The writer discusses growing up in the Borscht Belt, the prevalence of literary humor, and the power of feminist punch lines.
The novelist’s latest imagines an apocalypse that feels all too likely.
Sex as ecstasy and trap.
The celebrated Argentine novelist on writing about writers, avoiding labels, and why critics shouldn’t write fiction.
The pleasures of literary play in the writer’s final novel.
The Invention of Ana novelist on the manipulations of narrative, being submerged by fiction, and the protagonist as STD.
Rediscovering a beguiling masterpiece forty years after its publication.
The Restless Souls novelist on reading his reviews, working as a medical equipment tester, and writing responsibly about war and trauma.
A New York City public defender and author of a self-published bestseller returns with his third novel, Lost Empress. Sources range from quantum physics to the gospel.
When I was young, my mother told me that when she was a fetus in her mother’s womb, her own body already contained the egg that would one day be fertilized and become me. It’s an image akin to an infinite-loop motif—a Droste-effect woman in a woman in a woman