This is really just an elaborate love letter. Which I guess is my definition of ars poetica. And naming it autobiographical … I mean, it isn’t. But it’s the most vulnerable thing I’ve ever written, and I guess I want that label to reveal that.
I recently spoke with author Erin Stalcup about her newest novel, KEEN, performance, revolutions, gender, Tool, and more.You can read the full interview here at Heavy Feather Review.
I hope I’m not appropriating stories that aren’t mine. I am trying to imagine what it would be like to be someone other than myself. I’m always channeling the wisdom of my teacher and friend Robin Black who says no one can imagine her own life experiences that they haven’t had, but it’s worth it to try. I’m willing to be told I got it wrong.
Find out more about Erin Stalcup on erinstalcup.xyz. Erin’s book Keen (February 2022) is available from Gold Wake Press.
Art is a rich vehicle for critique. We’ve all been forced out of our everyday lives in a way that allows us to both create and consume art from a quasi-outsider perspective—maybe more objective, maybe more thoughtful about who we used to be, what the world used to be, and how we’ve all changed in the past couple of years. What do we miss? What do we never want to go back to? How were we surprised at how much we adapted to a particular aspect of lockdown? Who did we talk to? Who did we want to reach out to?
I recently spoke with author Sequoia Nagamatsu about his debut novel, How High We Go in the Dark, the role of art in an emergency, science fiction faves, and more.You can read the full interview here on The Rumpus.
While there have certainly been moments over the past year that may have temporarily diminished my faith in the human species, I think what gives me a sense of possibility are my students—young, smart people who legitimately care about the planet, are already doing so much for their communities, and are thinking intentionally about how their chosen disciplines might help provide for a better future in even small or unexpected ways.
Find out more about Sequoia Nagamatsu on sequoianagamatsu.com. Sequoia’s book How High We Go in the Dark (January 2022) is available from William Morrow.
“I think each of us speak multiple languages. Not necessarily whole different tongues like Russian and English, but we speak different glosses. I like to think of those as languages.”
I recently spoke with author Ian Ross Singleton about his own changing identity throughout the writing of Two Big Differences, as well as the many ways language and translation are transmitted and embodied throughout his debut novel.You can read the full interview here on Fiction Writers Review.
Humor really is the Odessan language. We talked about Isaac Babel, who is arguably the most quintessential Odessan writer (and you can’t make up a name like that, talking about the relationship to the Tower of Babel). So of course I had to have an epigraph from Isaac Babel, and it’s where the title comes from. The idea of “Two Big Differences”—that in itself is a joke. Odessa is so different, there’s two big differences.
Find out more about Ian Ross Singleton on singletonian.com. Ian’s book Two Big Differences (October 2021) is available from MGraphics.