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.
The author of My Name Is a Knife on historical fiction, frontier life, and sharing headspace with her characters.
My grandfather had never told me about his trip to the Soviet Union in the sixties, but I don't know why I was surprised. He never told me anything, not even my grandmother's name.
The author of A Terrible Country on what a story about Russia can say about America, dark moments during writing, and why there aren't more novels about hockey.
I was told getting laid off from my dream job had nothing to do with me, but after I was let go, I felt like I had lost a part of myself that I couldn't get back.
The author of Boys: What It Means to Become a Man on navigating masculinity in parenting, sex education and sports.
Just as a wall does not separate but binds two things together, language keeps us inextricably entangled and inextricably separate.