by The Editors
We’re off until Labor Day. Have a fiction-filled summer!
“I like characters that get in a jam and have to weasel their way out, usually with disastrous results”: Lee Matthew Goldberg talks with Vincent Zandri about his new novel, The Mentor, out now from Thomas Dunne Books.
“By allowing the reader to hear these voices, their pravda, instead of her own, Alexievich can better give voice to the feelings of disenfranchisement many witnesses feel in the current, capitalist Russia”: Ian Singleton tackles truth, translation, and history in Svetlana Alexievich’s Secondhand Time.
“It’s a coming of age story turned up to eleven, sharp and visceral as a gunshot, and just as concerned with violence”: Emily Nagin on Andrew Bourelle’s debut novel, Heavy Metal, out now from Autumn House.
“The characters personify competing ways of getting ahead in American culture”: Mari Carlson on Scott Spencer’s latest novel, River Under the Road, out this week from Ecco.
“I don’t think you can really go home again. I was more interested in what happens if you have to”: Melissa Scholes Young chats with Aline Ohanesian about motherhood, small-town USA, and her debut novel, Flood, out this week from Center Street/Hachette.
“We must lie and lie well in order to make the reader cry, or sigh, or slam their fists on the table in anger”: Neil Connelly and Genaro Kỳ Lý Smith talk about crafting fiction from life.
“That’s how the work gets done. No shortcuts, no strategies to make the process easier than it ever can or will be”: Jack Driscoll chats with Mary Stewart Atwell about his latest collection, The Goat Fish and The Lover’s Knot.
“I didn’t expect the new chapters—the ones from different characters’ points of view—to be so much fun, so interesting to write, so revealing”: David Hicks chats with Emily Nagin about his debut novel, White Plains, out now from Conundrum Press.
Maile Meloy in an interview From the Archives: “I think you have to find an emotional connection to the story, to make anyone else care about it, but I would find writing only what I know to be limiting.”