The author of Mother of God discusses the limitations of realism, Frank Bidart, and the anguished duality of shame.
Standing in the wreckage of these spaces unlocks a sensation people often crave, but can’t name.
It’s an imagined past, a pastoral imaginary, an alternate timeline in the multiverse.
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The author of Mother of God discusses the limitations of realism, Frank Bidart, and the anguished duality of shame.
Standing in the wreckage of these spaces unlocks a sensation people often crave, but can’t name.
It’s an imagined past, a pastoral imaginary, an alternate timeline in the multiverse.
“Bird,” he cried, “I come on behalf of the emperor. Your voice is all anyone speaks of.”
She stops to look into her mother's face. It is smooth and blank as a stone. Nothing emerges; nothing shifts.
Twenty-five years after its release, Magic: The Gathering still strikes a balance between performance and commodity—a mix of chess’s chilly purity and poker's social theatre.
I somehow thought my mother would die and still be alive, somewhere in that distant sound that resembles the sea in which she taught me to swim. But she is not there.
The author of Foe on marriage, having Charlie Kaufman adapt your work, and why he likes stories that remind him of Manu Ginobili.
The author of Certain American States on living with titles, the narrative space of relationships, and why short stories are like sauce.
The author of If You Leave Me on the Korean War, listening to your family stories, and the cost of survival.
Talking to the creator of Prism Stalker about body horror, complicating stories of subjugation and colonialism, and finding inspiration in Sailor Moon.