Storytelling

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How to Tell a Story by John Menick
John Menick Bomb 01

Several years ago, I began reading books about how to write books. 

David Means’s Hystopia by Chantal McStay
Means David Hystopia Bomb 01

The crisply constructed short stories for which David Means has become renowned are high and tight. His new—and first—novel, Hystopia, is something shaggier, departing, in its theoretical approach, from the New Yorker School of Fiction for the emerging field of narrative medicine, in which testimonies of trauma are inherently wooly and chaotic rather than refined and concise.

Christopher Sorrentino by Dana Spiotta
Sorrentino Bomb 01

“I intended The Fugitives to be as close to a zero-research book as possible. I decided that if I couldn’t find something with Google in ten minutes, then I should forget it, or make it up.”

Miguel Gomes by Tânia Cypriano
Miguel Gomes Bomb 08

“What I believe is that you just keep filming.”

Matt Freedman and Tim Spelios’s Endless Broken Time by Ander Mikalson
Matt Freedman and Tim Spelios 01

We gathered around you while you told ghost stories. It was a familiar, reflexive, ancient act to draw close to the beat and the voice. When the drummer tripped out a beat, your speech became a song.

Edwidge Danticat by Garnette Cadogan
Danticat 2001 1000

Claire of the Sea Light and the mysteries the ancestors share.

Amie Siegel by Lynn Hershman Leeson
Leeson 2001 1000

On Siegel’s film Provenance and its insertion into the global circuit of art and design objects.

Nature Theater of Oklahoma by Lauren Bakst
Life & Times

Kelly Copper and Pavol Liska of Nature Theater of Oklahoma on their series Life & Times, new episodes of which will be presented this September by FIAF as a part of its Crossing the Line festival.

Mia Engberg by Pamela Cohn
Belleville Baby

Mia Engberg discusses her latest film, Belleville Baby, and trusting the filmmaking process.

Sung Hwan Kim’s the Tanks at Tate Modern by Jessica Kate Weatherup
Tanks

Sung Hwan Kim’s The Tanks at Tate Modern uses mixed media to challenge reality, and how the artist and the viewer are both figments of the imagination.

Ralph Lemon by James Hannaham
Lemon 10 Body

“The reason I am writing fiction is so that I can tell the truth from a vantage point that allows me some space.”

Brian Evenson by Blake Butler
Brian Evenson 2 Toc Body

“I think that ‘consciousness’ is thinner than we like to believe.”

Heidi Julavits by Fiona Maazel
Heidi Julavits Body

“You can renovate your soul and change your behavior and lie to yourself, but maybe the face is the last frontier of truth. There’s only so much that plastic surgery can do for you.”

Francis Alÿs by Carla Faesler
​Francis Alÿs 01

After a lunch consisting of meatballs, rice, and lemonade, Francis Alÿs coordinates the afternoon plans for his son Elliot. The main activity is soccer practice, but Alÿs determines it’d be best to get to homework right away.

Joanna Newsom by Roy Harper
Joanna Newsom 1

I first learned of Joanna Newsom when I read a review in the UK’s Observer six years ago. I was initially struck by her beauty, and I was inspired by knowing that she was “in the world.”

My Life with Cars by Erica Hunt

This First Proof contains the short story “My Life with Cars,” by Erica Hunt.

Thomas Pletzinger by Sufjan Stevens
Thomas Pletzinger 1

Writer Thomas Pletzinger and New York-musician Sufjan Stevens on life on the road, their favorite brooklyn haunts, and Pletzinger’s novel Funeral for a Dog.

Erik Moskowitz & Amanda Trager by ​Craig Kalpakjian

Check out two exclusive videos from the collaborative artists and then read their discussion with Craig Kalpakjian, featured in Issue 115.

Someday This Will Be Funny by Andrew Zornoza
Lynne Tillman Someday This Will Be Funny

“The true star of this collection is not plot or characters, it’s storytelling itself: the weird literary ventriloquism we perform as we divide out the speaking roles of our inner lives.” Andrew Zornoza reviews Lynne Tillman’s Someday This Will be Funny.

Patricia Esquivias by Manuela Moscoso
Rltpgroup2 Body

By engaging in storytelling, Patricia Esquivias utilizes narrations to re-signify situations and events filtered through her own individual and particular viewpoints.

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