WHERE NOVELISTS SPEAK WITH CRITICS
ABOUT HOW NOVELS ARE MADE — AND WHAT TO MAKE OF THEM
10.5 The Novel as Instrument: Sinan Antoon and Michael Allan (MAT)
โI am haunted by history: the history of dictatorship, the history of empire, history as a whole,โ declares the Iraqi novelist, poet, scholar, and literary translator Sinan Antoon near the start of this conversation aboutโฆ
10.4 Place presents itself to you in fragments: Ivan Vladislaviฤ and Jeanne-Marie Jackson (MAT)
How to write about place is a question that cuts across the career of the South African Ivan Vladislaviฤ. The questions of place and space are pressing ones in the context of South Africa, whereโฆ
10.3 Just Slightly Outside the Circle: Peter Orner and Sarah Wasserman (EH)
Chicago is the main character, the setting, the obsession, and the historical grist for the mill of Peter Ornerโs most recent novel, The Gossip Columnistโs Daughter. In conversation about his hometown with Novel Dialogue hostโฆ
10.2 Beautiful Sentences Matter: Billy-Ray Belcourt and Matt Hooley (SW)
Can a novel with a singular voice also be a chorus? Can it reject the conventions of the novel and still be a novel? Poet, essayist, and novelist Billy-Ray Belcourt tells critic Matt Hooley howโฆ
10.1 Extreme Circumstances, Extreme Reactions: Aaron Gwyn and Sean McCann (JP)
Aaron Gwyn is the author of four novels: The World Beneath, Wynneโs War, and, most recently, two wonderfully linked historical novels, All Godโs Children, which won the Oklahoma Book award, and The Cannibal Owl. Inโฆ
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