Two decades into a life sentence, KunQuest remains determined to live his best life as a rapper, artist, relentless reader, and, now, a debut novelist with This Life.
The writer on her new collection of seventy-eight stories, lyrical compression, and protecting artistic inner silence.
The writer on her new story collection, working sentence by sentence, and giving in to her influences.
The author on writing about the swell before a war, factual inaccuracy as surrealism, and taking a jab at our own heedlessness.
The debut novelist on her literary influences, informal storytelling, and the imaginative possibilities of walking.
The poet on the myth of total knowledge, resisting answers, and the anxiety of completion.
The writer discusses growing up in the Borscht Belt, the prevalence of literary humor, and the power of feminist punch lines.
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.
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.
The author on pushing back against the overly simplistic narrative of addiction.
Writer and vocalist Keckler performs impersonations of obscure larger-than-life personalities he meets. In her first novel, Laing impersonates Kathy Acker.
“All our worst mistakes begin as fiction in our lives.”
The Freshwater author on the ogbanje, Igbo, rejecting gender binaries, and using private journals as creative archives.
The great lost American fragment novel.
The debut novelist of Self-Portrait with Boy on the DUMBO of the 1990s, accidental art, and the importance of being unladylike.
Pathos, swallows, Hölderlin: a sense of the everyday and its interruptions guide the Austrian writer’s “tender prose.”
The writer of The Job of the Wasp on horror, human evil, and writing long sentences.