Interview

‘What I Fear Most is Homogeneity’: An Interview with Rawi Hage

The author of Beirut Hellfire Society on writing about the Lebanese Civil War, collective memory, and the selfishness of Greek deities.

‘There Are Incredible Reservoirs of Anger Sloshing Around Our Country’: An Interview with Gary Shteyngart

The author of Lake Success on Republicanism, capitalism in the age of Trump and the strange ways we differentiate serious fiction and humour.

‘The Body is Smarter Than the Mind’: An Interview with Ottessa Moshfegh

The author of My Year of Rest and Relaxation on writing grief, the role of beauty and shuffling down to the bodega. 

‘How Can You Get Out? That’s Where Things Get Started’: An Interview with Iain Reid

The author of Foe on marriage, having Charlie Kaufman adapt your work, and why he likes stories that remind him of Manu Ginobili. 

‘The Word America is Pretty Ugly’: An Interview with Catherine Lacey

The author of Certain American States on living with titles, the narrative space of relationships, and why short stories are like sauce.

‘I Understand Best Through Writing’: An Interview with Crystal Hana Kim

The author of If You Leave Me on the Korean War, listening to your family stories, and the cost of survival.

‘I Take That Idea of Transmitting an Experience and Go Really Weird with It’: An Interview with Sloane Leong

Talking to the creator of Prism Stalker about body horror, complicating stories of subjugation and colonialism, and finding inspiration in Sailor Moon.

‘It’s More Complicated Than the Grass Being Greener’: An Interview with Alexia Arthurs

The author of How to Love a Jamaican on love in its various forms, finding belonging and mediating identity between and beyond borders.

‘The Best Fiction About the Past Grows Out of Gaps’: An Interview with Alix Hawley

The author of My Name Is a Knife on historical fiction, frontier life, and sharing headspace with her characters. 

‘It’s Harder When You’re Writing About People You Actually Admire’: An Interview with Keith Gessen

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.