In Kate Zambreno & Sofia Samatar’s Tone they construct a shared voice, that of the “Committee to Investigate the Atmosphere.” Yes, they do this to investigate tone, in the writings of everyone from Nella Larsen to Clarice Lispector, W. G. Sebald to Franz Kafka, Renee Gladman to Bhanu Kapil. But in chasing the ever-elusive notion of tone, discovering its relational and atmospheric qualities, Zambreno & Samatar end up troubling the notion of selfhood and the individual, and in doing so, they trouble the notion of literary form as well. Tone becomes an investigation not just of tone, but of the collective, of the communal, of the collaborative, and reveals the ways all writing is collaboration.

In the spirit of their collaboration they have created a wonderfully robust 40-minute call & response contribution for the bonus audio archive. One where Kate discusses and reads from works important to their project (everything from Bhanu Kapil’s How to Wash a Heart to Renee Gladman’s Calamities) and after each reading/meditation by Kate, Sofia responds with a reading of her own, speaking to Kate’s reading through her choices (from Nella Larsen’s Quicksand to writing by H. Bustos Domecq, the pseudonym of the collaborative writing of Borges and Casares). The bonus audio archive is only one possible benefit of joining the Between the Covers community as a listener-supporter. Every supporter gets the resource email with each episode and can join our collective brainstorm of who to invite on the show going forward. And then there are many other things to choose from as well, from the bonus audio to the Tin House Early Reader subscription. You can check it all out at the show’s Patreon page.

Lastly, because Tone is engaging with and indebted to so many books, this is the largest Bookshop ever!

The post Kate Zambreno & Sofia Samatar : Tone appeared first on Tin House.

Mattilda Bernstein Sycamore returns to Between the Covers to talk about her remarkable new book, Touching the Art. A mixture of memoir, biography, criticism, and social history, Touching the Art is above all a complicated love letter to Mattilda’s grandmother, abstract artist Gladys Goldstein. Through an exploration of Mattilda’s love for Gladys’ art, Touching the Art becomes a book about so many things—women in abstract expressionism, queer identity and homophobia, structural racism and white flight, antisemitism and Jewish assimilation into whiteness, family gaslighting and middle class norms, and dreams and visions of solidarity and liberation both in the world of art and in the world.

For the bonus audio archive, Mattilda contributes a reading of the first chapter of their future book Terry Dactyl. To find out how to subscribe to the bonus audio and about the many other potential benefits of joining the Between the Covers community as a listener-supporter, head over to the show’s Patreon page.

And here is today’s Bookshop.

The post Mattilda Bernstein Sycamore : Touching the Art appeared first on Tin House.

Bhanu Kapil’s postcolonial feminist road novel Incubation: A Space for Monsters has long been out of print. The book of hers that most engages with the mythos and reality of America, Incubation follows Laloo, a British woman of Indian descent, who arrives in the US to give birth to a monster. This fictional story parallels Bhanu’s own arrival in the United States, a move that was meant to be a permanent one, a leaving behind of England forever. And yet, now, as Incubation has a second renewed life in the US and arrives for the first time in the UK, Bhanu herself is, decades later, living again in England. We talk about questions of migration, immigration, home, hospitality, performance, ritual, memory, family, and gendered, racialized, and institutional violence, in light of Bhanu’s own return to the place she thought she never would. “What is a monster?” is a question that animates this book and animates our conversation today. How do monsters relate to writing and form, to identity and belonging, and to Bhanu’s own writing and teaching? We talk about all this and more.

For the bonus audio archive Bhanu contributes an extended reading for us: of Annie Ernaux, Eunsong Kim, Kate Zambreno, Sofia Samatar, and recent writings from Bhanu’s own notebook. To find out how to subscribe to the bonus audio and the other potential benefits of joining the Between the Covers community as a listener-supporter head over to the show’s Patreon page.

Finally here is today’s Bookshop.

The post Bhanu Kapil : Incubation : A Space for Monsters appeared first on Tin House.

Colleen Burner’s novella Sister Golden Calf is the story of two sisters on the road set in a world without men. Inspired, in part, by Vanessa Veselka’s essay “Green Screen: The Lack of Female Road Narratives and Why it Matters,” Sister Golden Calf by its very existence interrogates the road novel tradition it now becomes a part of. As Leni Zumas says: “In shiveringly beautiful prose, Colleen Burner maps a wild voyage into grief, love, and radical forms of kinship. Their novel unstitches the fixed seams of self and stranger, inviting us to touch the peculiar, precise commotions that link one creature to another. A truly extraordinary book.”

If you enjoy today’s conversation, consider joining the Between the Covers community as a listener-supporter. Find out all the potential rewards and benefits of doing so at the show’s Patreon page.

Finally here is today’s Bookshop.

The post Colleen Burner : Sister Golden Calf appeared first on Tin House.

Essayist and translator Kate Briggs’ first novel The Long Form is a book about, and happening within, the relationship between Helen and her infant daughter, Rose. What does making a novel baby-centric, not a novel about babies, but where the baby is a main character, a vital actor that shapes the story that unfolds, that shapes the experience of time and duration, what does that do to the novel? And what does it tell us about the history of novels, of the biases baked into the ways we traditionally tell stories? What gets considered worthy of characterization and why? What is considered dramatic or utterly banal, and what are the implications of these long-standing sensibilities? The Long Form meditates deeply on what a novel is thanks to baby Rose. And invites us to do so alongside her.

If you enjoyed today’s conversation, consider joining the Between the Covers community as a listener-supporter. Every supporter gets the resource-rich email with each episode and can participate in shaping who comes on the show going forward and there are many other potential rewards and gifts to choose from. You can check it all out at the show’s Patreon page.

And here is the Bookshop for today’s conversation.

 

The post Kate Briggs : The Long Form appeared first on Tin House.

Today’s conversation with Lydia Davis about her latest story collection, Our Strangers, a collection of 143 stories, is a deep dive into storytelling. These stories, whether incredibly short or quite long, often eschew backstory, exposition, context, or psychological interiority. Sometimes they even comment on other stories within the collection, or revise themselves, becoming something else entirely. Regardless of their length or style, they often raise the questions “is this a story?” and “if it isn’t a story, what is it?” In that spirit, you could consider today’s conversation a deep dive into poetry (syntax and the poetics of the sentence), into nonfiction (the ways autobiographical and found materials are incorporated into her fiction), and into translation as well. And all along the way, we get to hear Lydia read her singular stories of varying shapes and styles.

For the bonus audio archive, Davis contributes a discussion of the work of Swiss writer Peter Bichsel and then reads one of her translations of his stories. If you enjoyed today’s conversation consider joining the Between the Covers community as a listener-supporter. There are a wealth of potential benefits and rewards of doing so, including the bonus audio archive. You can check it all out at the show’s Patreon page.

Finally, here is today’s Bookshop.

 

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Naomi Klein’s new book, Doppelganger, is a departure for her. One some of her closest friends even cautioned her against. On the one hand, it is what we’ve come to expect from Klein, a brilliant framing, through the coining of new language, of our current political moment. And yet Doppelganger is decidedly more personal, more vulnerable, more inward-looking than her previous books. And not only does it have a strain of a more literary nonfiction running through it, it also centers literature and the ways the literary history of doubles and doppelgangers can help us make sense of the doubling we are encountering in our lives—whether fake news narratives for everything from COVID to climate change; or AI; or the avatars that we create to represent us on social media; or the friends we’ve lost to what Klein calls “the mirror world” since the pandemic, over vaccines and masks. And the new political terms she is engaging with, from sacrifice zones to shadowlands, are deeply relevant to the choices we make as writers and art-makers as well. And writers from China Miéville to Kim Stanley Robinson are some of the many luminaries singing Doppelganger‘s praises.

For the bonus audio archive Naomi reads for us from Philip Roth’s Operation Shylock, a book that features prominently in her book. She reads a letter that fake Philip Roth (his doppelganger) writes to the real Philip Roth. It is not to miss. To find out how to subscribe to the bonus audio archive and explore the other potential benefits and rewards of joining the Between the Covers community as a listener-supporter head over to the show’s Patreon page.

Finally, here is the Bookshop corresponding to today’s episode.

 

The post Naomi Klein : Doppelganger : Part One appeared first on Tin House.

You could say that Matthew Zapruder’s Story of a Poem is about the revision of a poem, that it follows the life of one poem, from its first phrase to its final draft, and invites us, in the most mesmerizing way, behind the curtain of the creative process of composition. And you wouldn’t be wrong. But really it is also the story of the revision of the poet as well, a revision of the stories that make up his own sense of self, that situate him in the world. When his son is diagnosed with autism many of the things that Zapruder had organized his own sense of identity around—a facility and quickness with language to name but one—were called into question. To show up as the father he wanted to be for his son, to truly see him on his own terms, he had to revise his notion of himself. He had to find a new form of being. Zapruder’s new book is also a new form, part prose, part poetry, and is the story of this journey, one that looks at how a poem comes to be, how the poet enters a place that is provisional by welcoming a certain unknowingness, as a guide toward doing the same for himself. Story of a Poem is about poetry and story, revision and self-becoming, coming together and coming undone, and more than anything about building a world where the people and things you most love can thrive.

If you enjoy today’s conversation consider joining the Between the Covers community as a listener-supporter. Find out about the many possible benefits and rewards of doing so at the show’s Patreon page.

The post Tin House Live : Matthew Zapruder on Story of a Poem appeared first on Tin House.

Poet and host of the The Slowdown podcast Major Jackson joins us to talk about Razzle Dazzle, his collection of new and selected poems that captures two decades in the life of a poet. Last year Major also released a book his selected prose, A Beat Beyond, his meditations on poetry and its relation to music, to race, to selfhood, to inheritance and community. We place these two career-spanning works side by side, prose and poetry, and explore them together in today’s conversation. We look back across his work, considering how his poetry and his thoughts on poetry have evolved over the years, and what looking back does to moving forward. It’s a conversation that looks at identity, voice, and the mysteries of selfhood, at multiple ways of evoking the ecological and nonhuman within ones work, at fraught questions of race and nation, and at questions of influence, lineage, and reaching across difference.

For the bonus audio archive Major Jackson introduces us to and contributes a reading of John Ashbery’s “More Pleasant Adventures” which joins readings from so many iconic contemporary poets, from Dionne Brand to Layli Long Soldier, Arthur Sze to Rosmarie Waldrop. The bonus audio is only one potential benefit of joining the Between the Covers community as a listener-supporter. Find out about all the possible benefits and rewards at the show’s Patreon page.

Finally here is the Bookshop for today’s episode with many of the books mentioned, from Sonia Sanchez to Evie Shockley, Mei-mei Berssenbrugge to Brenda Hillman. And of course the books by Major himself.

The post Major Jackson : Razzle Dazzle appeared first on Tin House.

Five months pregnant, fearful of the future, and creatively blocked, JoAnna Novak becomes obsessed with the life, writings, and paintings of Agnes Martin. She fashions a three-week intensive writing regimen in northern New Mexico, where Martin lived and painted (and where Novak writes this book we discuss today). The structure of this retreat is inspired by Martin’s 6×6 gridded abstract paintings that so appealingly keep out the clutter of life, and by Martin’s life philosophy—her notions of “positive freedom” and her pursuit of inner perfection. Because of this, today’s conversation becomes a dual exploration of both Novak’s own artistic journey and that of Martin’s. In addition, we look at the various ways Novak uses constraints and experimental techniques as part of her writing practice, about the different ways she has portrayed pregnancy in her poetry versus her prose, about writing into the unspoken stigma of prenatal depression, and much more.

For the bonus audio archive JoAnna contributes a reading of the children’s picture book Mr. Rabbit and the Lovely Present, written some sixty years ago by Charlotte Zolotow, illustrated by Maurice Sendak, and loved by JoAnna’s now four-year-old son. The bonus audio archive is only one potential benefit of joining the Between the Covers community as a listener-supporter. You can find out about all the potential rewards and benefits of doing so at the show’s Patreon page.

And here is the link to today’s Bookshop.

 

The post JoAnna Novak : Contradiction Days appeared first on Tin House.

Jorie Graham’s first appearance on the show in 2021, to discuss her collection Runaway, is one of the most relistened to episodes in the show’s history, a conversation that, with each revisitation, seems to reveal something new about how to will oneself into presence as an artist and as a human. And it is a conversation that many other guests on the show since have told me is now part of their syllabi at the universities where they teach. And yet as rich and deep as it was, even after those many substantive hours spent together, there was still so much left to explore about Jorie Graham’s poetics, which makes her return to Between the Covers, to discuss her latest collection, To 2040, particularly exciting. Both of these conversations are stand-alone episodes, and yet, I think to fully grasp Jorie’s poetics, both conversations are necessary to do so, as they approach her body of work from opposite vantage points. Whereas the first explores how to be present to and embodied before one’s life and one’s art, the second looks at how to make art, and to live an embodied life within a deeply and increasingly disembodied world. Today’s conversation is about the body—the body in relation to self and other; the body politic in relation to truth, fact, and shared reality; and the body that is the planet we call home. The body in relation to the virtual, the body in relation to language, and how to find a language in a world where we’ve lost our way.

The last time Jorie was on the show she contributed a remarkable bonus reading of several poems about rain (by Robert Creeley and Edward Thomas). The bonus audio archive, which includes bonus readings from everyone from Alice Oswald to Arthur Sze to Layli Long Solider to Dionne Brand, is one of many potential benefits of joining the Between the Covers community as a listener-supporter. To find out more head over to the show’s Patreon page. Lastly, here is today’s Bookshop with many of the books mentioned today.

photo credit: Alvaro Almanza

The post Jorie Graham : To 2040 appeared first on Tin House.

Today’s craft talk, “Why So Surrealism” by Nana Kwame Adjei-Brenyah, was recorded at the 2022 Tin House Summer Workshop. Prompted by a journalist who asked him to talk about how surrealistic and speculative conceits operated in and informed Black fiction, in this craft talk Adjei-Brenyah looks at the tropes of surrealist and speculative fiction within his own work, at not only what effects they have, but what they open up for him as a writer. Adjei-Brenyah is the bestselling and critically-acclaimed writer of the story collection Friday Black and the dystopian novel Chain-Gang All-Stars.

The post Tin House Live : Nana Kwame Adjei-Brenyah on Surrealism appeared first on Tin House.

Poet Roger Reeves calls the essays in his debut book of prose “fugitive essays.” And we explore what it means to write fugitively, to write into and from and toward fugitivity. If, as Fred Moten says, fugitivity is “a desire for and a spirit of escape and transgression of the proper and the proposed. . . . a desire for the outside, for a playing or being outside, an outlaw edge proper to the now always already improper voice or instrument,” how does writing fugitively effect a writer’s orientation to self and selfhood, to one’s own community and people, to nation and nationhood, to the canon and canon formation, to otherness and the stranger, to life and living in the ever-unfolding apocalypse? We look together at what a poet writing essays tells us both about the essay form and about Roger’s poetry and poetics. Deep dives into questions of time, progress, repetition, metaphor, history, ancestry, futurity, presence, sound, and silence.

For the bonus audio archive, Roger contributes an extended reading from Palestinian writer Ghassan Kanafani’s novella Return to Haifa. This joins an ever-growing archive of supplemental audio from everyone from Natalie Diaz to Dionne Brand, Isabella Hammad to Christina Sharpe. You can find out more about how to subscribe to the bonus audio and the many other potential benefits of joining the Between the Covers community as a listener-supporter at the show’s Patreon page.

The Bookshop for today’s episode contains many of the books mentioned, referenced, or read from.

The post Roger Reeves : Dark Days appeared first on Tin House.

Isabella Hammad’s latest book Enter Ghost is about a Palestinian theater group attempting to put on a production of Hamlet in the West Bank. The actors come from many different Palestinian experiences, one to the next. Some have Israeli citizenship. Others live in refugee camps or Ramallah or in the diaspora in Europe. But why Hamlet? We look at the unique history of this play within the Arab world, its history of being both performed and banned, but also at how the very act of striving to create a shared performative space, while living under occupation, is a political act in and of itself. Today’s conversation covers many things, from writing against essentialism to the revolutionary potential of art-making.

For the bonus audio archive Isabella contributes a reading of a prison letter that Palestinian political prisoner Walid Daqqa wrote twenty years into his still-ongoing incarceration. This letter, called “Parallel Time,” was adapted for the stage in 2014 and performed in Haifa. The theater that performed it was then defunded by the Israeli government, threatening its ability to continue as a theater (a topic we discuss in the main conversation). Daqqa’s letters have yet to find publication in English. This translation is by Dalia Taha. To learn how to subscribe to the bonus audio archive and the other potential benefits of joining the Between the Covers community as a listener-supporter head over to the show’s Patreon page.

Finally, here is the Bookshop for today’s episode.

The post Isabella Hammad : Enter Ghost appeared first on Tin House.

Even though each of Max Porter’s books is a stand-alone book, some have called Grief Is the Thing with Feathers, Lanny, and his latest, Shy, a “trilogy of boyhood,” a framing Max himself embraces. After a truly electrifying short reading from Shy, Max and I explore his impulse to examine and evoke boyhood across these three books and how his choices on the page engage with the crisis that is contemporary masculinity. We talk about fatherhood and parenting, the extra-literary influences on his writing, whether comics or music or visual art, about the mythic and the wild in relation to the human and language, and much more. Today’s conversation was recorded live in Portland, Oregon, at the downtown location of Powell’s Books in May of 2023.

Don’t miss Max’s first appearance on the show in 2019 for his book Lanny. Back then, Max contributed a reading of a poem of his to the bonus audio archive. The singer-songwriter Joan Shelley had reached out in admiration of his books. They began a correspondence (which eventually resulted in some of his words becoming lyrics to her songs) and part of that correspondence included this poem he wrote for her. To learn how to subscribe to the bonus audio archive and the other potential benefits of joining the Between the Covers community as a listener-supporter head over to the show’s Patreon page.

Lastly, here is the Bookshop for today’s episode.

The post Tin House Live : Max Porter on Shy appeared first on Tin House.

Spareness, economy, and distillation are often put forth as obvious virtues in poetry. But what if there were a politics undergirding this aesthetic preference? In today’s conversation with poet Megan Fernandes we look at questions of poetics and aesthetics in relation to capitalism and colonialism and how a messier, more unruly poetics can trouble borders and boundaries—of self, of nation, of species. We talk about questions of home and belonging, community and solidarity, how we might create kinship across difference both on the page and in one’s life, creating a sense of shared living through a poetics of diaspora and dislocation. We also talk about time and how to live, love, and create art within an ongoing crisis. Personal, poetical, and geopolitical, this is a conversation not to miss.

If you enjoy today’s conversation consider joining the Between the Covers as a listener-supporter. Find out about all the potential rewards and benefits of doing so at the show’s Patreon page.

Finally, here is the Bookshop for today’s episode.

The post Megan Fernandes : I Do Everything I’m Told appeared first on Tin House.

What if you gave your fictional main character all of your own biographical details and family history but had them, at every point, choose “wrong”? At every point do the thing you yourself would be against? Johanna Hedva does just that, and their novel Your Love Is Not Good is not just full of sex battles and high-stakes art openings, but also high-stakes moral quandaries. Set in the institutional art world of museums and galleries, Your Love Is Not Good looks at making art (and love) under capitalism, at a mixed-race Korean American painter striving for universality (and whiteness) and yet wanting to be authentic, to build community and solidarity. When forced to choose, where and with whom will she stand?

Johanna Hedva is also a musician and a performance artist. And their contribution to the bonus audio archive is one of the most unique ones ever, and one created specifically with us in mind. After we recorded this conversation they went on book tour and, while traveling from city to city, recorded themselves moaning, grunting, screaming, and breathing; recorded themselves reading text they wrote while touring. They then sent all these voice files to LA audio engineer Henry Glover along with the voices of the universe itself: sonifications of a black hole and the helix nebula, raw audio of the sun, a field recording of the aurora borealis. Hedva explained to Glover the vibe and scenario they imagined as he mixed and mastered a layering of voices, personal and “universal,” into this unique track: “The Saddest Thing of All Is When a Lone Astronaut Falls in Her Suit—Who Is There to Help Her Up?” To learn about how to subscribe to the bonus audio archive and the many other potential benefits of joining the Between the Covers community as a listener-supporter head over to the show’s Patreon page.

The Bookshop for today’s episode.

 

 

The post Johanna Hedva : Your Love Is Not Good appeared first on Tin House.

In Early Medieval Ireland there was a language called Ogham that was sometimes referred to as the “Celtic Tree Alphabet'” because its letters each corresponded to and depicted a different tree. At one point Ireland, now one of the most deforested countries in Europe, was largely covered in forest, its culture deeply entwined with the life of trees. Irish visual artist Katie Holten has created a new contemporary tree alphabet, gathered the voices, thoughts, poems, and meditations of some of the great thinkers about trees and the natural world, and translated their writings into “tree.” A book of image and a book of text, the wisdom of Ursula K. Le Guin and Richard Powers, Ross Gay and Robert Macfarlane, Amitav Ghosh, Robin Wall Kimmerer, Ada Limón, and many more, is transformed into tree language as they each, in their own way, evoke the complex beings that are trees, and argue, as Richard Powers does, that “this is not our world with trees in it. It’s a world of trees, where humans have just arrived.”

If you enjoy today’s conversation consider joining the Between the Covers community as a listener-supporter. Find out about all the potential rewards and benefits of doing so at the show’s Patreon page.

Today’s conversation was recorded at Powell’s Books in downtown Portland before a live audience.

The post Tin House Live : Katie Holten on The Language of Trees appeared first on Tin House.

Back in 2019, when Richard Powers was a guest on Between the Covers for The Overstory, we also appeared together that very same night, in conversation again. This time, an onstage ticketed event at Revolution Hall before a live audience. I’ve wanted to share this second conversation ever since. Not only because I prepared two distinctly different interviews, but also because this was Powers’ first visit to Oregon for The Overstory, a book not merely set in the Pacific Northwest but one that deeply engages with the longstanding history of forest defense in the region on behalf of the last remaining stands of old growth forest. Because Powers hadn’t been to Portland for his hardback or paperback tours and had since won the Pulitzer Prize for Fiction for this very book, and because of the deep connection the Portland community has to the stories within this novel, the atmosphere was electric at this sold-out event, overflowing with anticipation, excitement, and joy. I’m so happy to be able to now share this with you and want to thank Richard Powers, W. W. Norton, and Powell’s Books, the host of the event, for making that possible. And whether or not you’ve heard the podcast conversation that aired with Powers in 2019, it is a great complement to today’s episode. Two conversations on the same day, one with just Richard and me, the other celebrating the book in community, quite different in tone and content and yet interwoven and speaking to each other.

For the bonus audio archive, Richard contributes a reading of an incredibly moving  W. S. Merwin poem about trees, which joins Jorie Graham reading poems by others about rain, Kaveh Akbar reading about worms, Forrest Gander reading poems about lichen, and much more. The bonus audio is only one possible benefit of joining the Between the Covers community as a listener-supporter. You can find out about them all at the show’s Patreon page. Lastly, here is today’s very tree-centric Bookshop.

 

The post Tin House Live: Richard Powers on The Overstory appeared first on Tin House.

Melanie Rae Thon’s latest book, As If Fire Could Hide Us, is described not as a novel with three chapters, nor as a collection of three stories, but as “a love song in three movements.” What does it mean to see a story as song, to sing from or toward love, to experience a book’s phases not as sections but as movements? How does writing from or toward love change the music of our sentences or lines, the shapes of our stories, the way we represent others—whether other people or other nonhuman beings? Thon suggests a relationship between attention and attentiveness and this question of love. By quoting Simone Weil, who says, “Attention, taken to its highest degree, is the same thing as prayer. It presupposes faith and love. Absolutely unmixed attention is prayer,” Thon speaks to what she calls the “ethics of perception,” that we can avert our eyes or risk compassion, in our lives and on the page. A conversation that is as much about living as writing, and one that speaks as deeply to questions of poetry, music, silence, spirit, and yes, love, as it does to story.

In today’s conversation Melanie also speaks generously about her approach to the teaching of writing. In that spirit she offers to all Between the Covers supporters two of her teaching documents, “Memory & Adventure” and “The Gospel of Grief, Grace, and Gratitude.” In addition, for the bonus audio archive she gives a craft talk of hers called “The Ethics of Perception.” This joins craft talks from Marlon James (“The Nine and a Half Rules of Seduction”) and Jeannie Vanasco (“How to Write Memorable Lines”) as well as readings by everyone from Teju Cole to Lance Olsen, Carmen Maria Machado to Jenny Offill. You can find out about all of this and the many other potential benefits of joining the Between the Covers community at the show’s Patreon page.

Finally, here is the Bookshop for today’s conversation.

The post Melanie Rae Thon : As If Fire Could Hide Us appeared first on Tin House.

There may be no writer, no thinker, who has shaped my conversations on the show more than Christina Sharpe. Whether her work is explicitly part of a conversation (in episodes with Ross Gay, Solmaz Sharif, Natalie Diaz, and Dionne Brand, to name a few) or whether her thought and vision provide a foundation and subtext for one (conversations as wide-ranging as those with Viet Thanh Nguyen, Monica Youn, Claire Schwartz, Cristina Rivera Garza, and Charif Shanahan), Sharpe’s scholarship has been a crucial part of some of the most dynamic conversations on the show. Her work has always been more than academic work however. It has always been a hybrid, scholarly and literary, visual and textual, personal and structural. But her latest book, Ordinary Notes, is the most personal to date, and among the many things it could be considered (John Keene suggests it combines memoir, memorial, literary criticism, and political and cultural critique) is as a love letter to Sharpe’s mother and how she cultivated and nourished, in the face of all the brutalities of our world, an atmosphere of Black life, Black art, and Black thought within their home. Of how she pursued, in Christina’s words, “beauty as a method.” This is a rare book that will work on you if you work your way through it. Ordinary Notes is both generous and challenging, envisioning an elsewhere and otherwise of shared risk and care.

For the bonus audio archive Christina contributes readings from Dionne Brand’s The Blue Clerk, Victoria Adukwei Bulley’s Quiet, and Canisia Lubrin’s forthcoming Code Noir. These join bonus material from everyone from Nikky Finney to Layli Long Soldier. And the bonus material is only one of many potential benefits of joining the Between the Covers community as a listener-supporter. Find out more at the show’s Patreon page.

Today’s Bookshop is the largest and deepest yet, with Christina’s books, of course, but also with many of the Black writers and thinkers and artists that she has been shaped by or writes alongside.

The post Christina Sharpe : Ordinary Notes appeared first on Tin House.

Today’s guest, novelist, storyteller, essayist, playwright, scholar, translator, and perennial front-runner for the Nobel Prize in Literature Ngũgĩ wa Thiong’o, is an iconic figure in postcolonial thought. His latest book, The Language of Languages, is the first book dedicated to his writings on translation and the status of African languages, globally and in Africa today, a topic that is quite personal for him, and central to his writing life. During his year in a maximum security prison in the Kenya of the 1970s, he decided to stop writing his novels in English and wrote his fifth novel, Devil on the Cross, on squares of toilet paper in Gikuyu, his mother tongue. Ngũgĩ suspects that he wasn’t jailed simply because he wrote and put on a play that was critical of the Kenyan government (his recent novels in English had been just as critical of the government) but because it had been written and performed in Gikuyu. Thus, every novel he has written since, he has written in Gikuyu, and then later translated into English himself. You would be right to think that writing in one’s mother tongue should be the most natural and obvious thing to do. And yet the obstacles to doing so continue to be immense and speak to larger questions around the status of the African continent today and postcolonial Africa’s relationship to its colonial past. Today we look at the histories and legacies within languages as well as the power dynamics between them, and how collapsing the hierarchies between languages is crucial to doing the same geopolitically, that the beginnings of true sovereignty begin with our languages.

If you enjoy today’s episode consider joining the Between the Covers community as a listener-supporter. Every supporter gets the resource-rich email with each episode with things referenced during the conversation in question as well as places to explore once you’ve finished listening, and there are many other potential benefits to choose from. These include the bonus audio archive with readings from everyone from Dionne Brand to Layli Long Soldier; the Tin House early readership program, receiving twelve books over the course of a year months before they are available to the general public; rare collectibles from past guests; and more. You can check it all out at the show’s Patreon page.

Finally, here is today’s Bookshop, full of the books we mention today.

 

The post Ngũgĩ wa Thiong’o : The Language of Languages appeared first on Tin House.

Early in poet Charif Shanahan’s latest collection, Trace Evidence, we encounter the lines: “I want to ​tell you what for me it has been like. // To speak at all / I must occupy a position // In a system whose positions / I appear not to occupy.” How does one connect to others, be seen and heard by others, make art about oneself in language, when language itself does not capture one’s identity, when the available categories do not describe your life, when one’s identity is defined by its instability or uncategorizability?  Today’s conversation looks at complex intersections between Arabness and Blackness, between North Africa and North America, between a mother’s self-conception and a son’s very different one, and the ways different legacies of race—historically, geopolitically—can ripple through the most intimate of spaces, within a family, between lovers, before one’s therapist, among one’s peers. Shanahan’s very particular journey around finding a language, a poetics, that can more fully evoke his embodied life experience tells us all something about the construction of self more generally, about the relationship of language to self-making, and about what possibilities the ways we are categorized, or categorize ourselves, either open up or foreclose.

For the bonus audio archive Shanahan contributes a reading of a long excerpt from what will be his next book, a polyvocal, epistolary project called Dear Whiteness. In addition, Mizna, the journal of Arab American art, literature, and culture, has also contributed copies of issues related to today’s conversation, or which might be of particular interest to listeners of the show, for new supporters of the show. These are only two of many possible benefits of joining the Between the Covers community as a listener supporter. You can find out more at the show’s Patreon page.

Finally here is the Bookshop for today’s episode, with Charif’s books but also books by everyone from Safia Elhillo to Chouki El Hamel.

The post Charif Shanahan : Trace Evidence appeared first on Tin House.

Today’s guest is poet, storyteller, and now essayist Sabrina Orah Mark. Her latest book, Happily: A Personal History—with Fairy Tales, is an intriguing blend of two radically different forms, memoir and fairy tale. Much as fairy tales are feral, forever escaping a simple, reductive meaning, forever changing shape and being retold, forever out of fashion and always enduring, ancient and contemporary at the same time, Sabrina’s essays refuse to be only essays, somehow becoming fairy tales themselves. Our conversation about this essay collection is about fiction, fantasy, memoir, and poetry, about childhood, motherhood, and step-motherhood, and how they all magically coexist in the alchemy of Sabrina’s prose. Ultimately these tales, these surreal dreams, are not ways to look away from the world, but ways to be in it, to cope, confront, and engage with the unimaginably difficult, whether the raising of two Black Jewish boys in the United States today, unspeakable ancestral rupture, a global pandemic and climate apocalypse, or the anxieties and uncertainties of the everyday. Happily takes our hands to walk into the forest together.

For the bonus audio archive Sabrina contributes a reading of the Bruno Schulz story “Birds.” This joins a vast archive of material from Jai Chakrabarti reading poems by Bruno Schulz’s biographer, the Polish poet Jerzy Ficowski, to Jen Bervin reading the letters of Paul Celan, to Rosmarie Waldrop reading Edmond Jabès or Alice Oswald reading from the Book of Job. This is one of many possible benefits to joining the Between the Covers community as a listener-supporter. You can find out about them all at the show’s Patreon page.

Finally here is the Bookshop corresponding to today’s conversation.

The post Sabrina Orah Mark : Happily appeared first on Tin House.

In today’s conversation with poet Monica Youn we explore what it means to write from a poetics of difference rather than of authenticity, a poetics of deracination rather than identity. Youn’s latest poetry collection From From engages with the history of anti-Asian violence in the United States but is always conscious of the ways this violence is situated structurally, of the racial triangulation of Asian Americans, of how, in Dorothy Wang’s words, “there’s no way to talk about Asian immigrants or the Asian American experience as separate from the Black American experience or the Indigenous experience or the Latinx experience because of the relation to whiteness.” From From engages with everything from Greek mythology (and the construction of the Greek self in relation to the Asian other) to the 1992 L.A. uprising and the murder of Latasha Harlins by Soon Ja Du. And ultimately with what it means to call a place “home” that never seems to see you as part of its history, that is always asking “but where are you from from?”

For the bonus audio archive Monica contributes the reading of two electrifying long poems. The first, “A Guide to Usage: Mine,” was commissioned by the Boston Review for the anthology Poems for Political Disaster (a book conceived in response to the election of Donald Trump). The second is a draft of a poem, one that hasn’t yet fully come together (and which she has never shared before), but was originally meant to be part of the series of magpie parable poems in the new collection. Partially inspired by the landmark 1948 Supreme Court case Shelley v. Kraemer, which abolishes racially-restrictive housing covenants, this never-before-seen poem is called “Parable of the Magpie’s Nest.” To learn how to subscribe to the bonus audio archive (which includes readings from everyone from Victoria Chang to Nikky Finney, from Ada Limón to Dionne Brand), and about the many other potential rewards and benefits of joining the Between the Covers community as a listener-supporter, head over to the show’s Patreon page.

Finally, here is today’s Bookshop.

photo credit: Beowulf Sheehan

The post Monica Youn : From From appeared first on Tin House.

Today’s conversation with novelist and story writer Jai Chakrabarti is unusually wide-ranging, touching on everything from classical Indian aesthetics to Jewish ritual, from poetry to cognitive science, from Tagore’s plays to Buber’s philosophy, from sublimating the self to writing the other. Chakrabarti’s new story collection, A Small Sacrifice for an Enormous Happiness, engages with complex questions of class, gender, race, religion, and nationality, particularly in relation to families and family making, and the tensions between our individual dreams and the countervailing realities of the people we share lives with and among. We discuss questions of story shape, characterization, point of view, and the role of the reader in order to look deeply at how to tell such stories in ways that feel nuanced, lived, and embodied.

For the bonus audio archive Jai reads two poems by the Polish poet and translator (and biographer of Bruno Schulz) Jerzy Ficowski. The epigraph to Jai’s novel comes from one of them, and the second poem is dedicated to the memory of Janusz Korczak (who we discuss quite a bit in the main discussion). To learn how to subscribe to the bonus audio and about the many other potential benefits and rewards from joining the Between the Covers community as a listener-supporter, head over the the show’s Patreon page.

Finally, here is the Bookshop for today’s conversation.

The post Jai Chakrabarti : A Small Sacrifice for an Enormous Happiness appeared first on Tin House.

Today’s guest, Argentinian novelist, short story writer, and journalist Mariana Enriquez has been called the queen of Latin American gothic horror. She is in the vanguard of a generation of Latin American women writers breaking new ground in the horror genre. We look at the ways her work extends Argentina’s long and storied tradition of fantastical literature, but, even more, we look at the remarkable ways her writing departs from it, the ways Anglophone horror writers have inspired her to write an Argentinian horror that is similarly place-based, that comes up from the land and the events that happened on it (and still haunt it today), that engages with the stories, customs, rituals, fears, and politics of the place where the story is set. We also talk about her assertion that Latin America, while it has a long and deep history of fantastical literature, as well as a few examples of horror, doesn’t, in her mind, have what amounts to a horror tradition, and she theorizes about why England and the U.S., by contrast, have such a deep engagement with horror as a genre.

We talk not only about horror in relation to place and literary tradition, but also horror in relation to gender, and the gothic in relation to gender. About the role of women as characters in the horror genre and about the new wave of Latin American women writers attracted to horror as a lens through which to create their work. We also talk about the politics and aesthetics of portraying violence, and how her work does and does not map itself in relation to the brutal dictatorship she grew up under and which is the setting of her new novel, her first in English, Our Share of Night.

Many writers get mentioned and discussed in this conversation, from Jorge Luis Borges to Stephen King to Ursula K. Le Guin, but I want to mention one writer who we discuss several times, the Mexican writer Fernanda Melchor. Melchor’s past appearance on the show to discuss her book Hurricane Season is the perfect pairing with today’s episode with Mariana.

For the bonus audio archive, we’ve added a long-form conversation with Mariana Enriquez’s translator Megan McDowell. There is also a long-form conversation with Megan from when Alejandro Zambra was on the show as well. They make a great pairing as Megan was translating both of their books simultaneously during the first years of the pandemic and she makes some revelatory comparisons between their books, and between Chilean and Argentinian literature in relation to the fantastic and the real. To learn how to subscribe to the bonus audio archive and about the many other potential rewards of joining the Between the Covers community as a listener supporter, head over to the show’s Patreon page.

Finally here is today’s Bookshop.

 

The post Mariana Enriquez : Our Share of Night appeared first on Tin House.

Today’s conversation is with poet, visual artist, editor, and podcast host Gabrielle Bates. The poems in Bates’ debut poetry collection Judas Goat feel both personal and mythic, violent and tender, human and much more than human, with an effect that haunts the reader long after closing the book. They also have a fascinating relationship to story, and by extension to time, and to the image and the mysterious relationship between words on the page and images in our minds. In her own words Bates describes Judas Goat as follows: “Within the book I see a woman wrestling her various hauntings: the specter of sexual violence, anxieties around attachment and marital commitment, motherlessness, queerness, Biblical figures, education, her reliance on (and distrust of) the visual. What haunts the speaker of Judas Goat most is what she’s been taught, how she’s been trained.”

For three lucky new supporters of Between the Covers, Gabrielle Bates is offering two 30-minute poetry consultations and an annotated advance copy of Judas Goat, containing anecdotes about the poems, background about them, and the poet’s own inside scoop about how they came to be written. These are only a few of many possible rewards and gifts for joining the Between the Covers community as a listener-supporter. The bonus audio archive (with contributions from everyone from Jorie Graham, Dionne Brand, Nikky Finney, Layli Long Soldier, Alice Oswald, and more), the Tin House early readership subscription, collectibles from everyone from Ama Codjoe to Ursula K. Le Guin and much more. You can check it all out at the show’s Patreon page.

And here is today’s episode’s Bookshop.

The post Gabrielle Bates : Judas Goat appeared first on Tin House.

Today’s guest, Bulgarian novelist, storyteller, poet, essayist, and more, Georgi Gospodinov, is the perfect writer to bring in the new year. Gospodinov is a writer obsessed with beginnings and endings, with time, history, imagination, and memory. A writer raised on the stories of his grandmother, on the fantastical tales of Márquez and Borges, on the notion that stories themselves can not only comfort and console, but sometimes save a life. His latest novel, Time Shelter, translated by Angela Rodel (who is part of today’s conversation), is about the comforts and dangers of the past, of nostalgia, and what happens to a country, to a world, when the future feels canceled and we look backward for somewhere to live. As Bulgarian translator Izidora Angel said in her review of the book: “Beneath the book’s speculative façade, it’s also clear the author is meditating on his own legacy as a man of words within it. Real, bloody conflict exists but something else is eating away at us too—a critical depletion of empathy, a critical mass of meaninglessness, as Gospodinov has called it, and it is the job of writers to counter these metaphysical but no less real dangers. Words are time shelters too—living, breathing portals to memory, experience, and history, archives and blueprints all at once.”

For subscribers to the bonus audio archive, there is a supplementary interview with Georgi’s translator, Angela Rodel, about the questions and conundrums of translation that arose with Time Shelter, about how Gospodinov’s work is distinct within Bulgarian literature, and about her own artistic pursuits beyond translation, from starring in Bulgarian films and television to performing in a Bulgarian folk-rock band and more. This joins other long-form conversations with translators of other previous guests including Megan McDowell translating Alejandro Zambra, Ellen Elias-Bursać translating Dubravka Ugrešić, and more. To learn how to subscribe to the bonus audio and the other potential benefits of joining the Between the Covers community as a listener-supporter head over to the show’s Patreon page.

Finally here is today’s Bookshop.

The post Georgi Gospodinov : Time Shelter appeared first on Tin House.

Novelist, short story writer, poet, and critic Lucy Ives’ new novel Life Is Everywhere has been heralded by some of our most formally inventive and playful writers today, from Jesse Ball to Alejandro Zambra to Percival Everett. No wonder as Life Is Everywhere, a book that contains other books, is hard to categorize. Some have called the structure like that of Matryoshka dolls but its inspiration comes directly from an essay by Ursula K. Le Guin called “The Carrier Bag Theory of Fiction,” an essay that reaches toward a different future for the novel. In Ives’ book we  spend just as much time reading the things inside our protagonist’s bag as we do with the protagonist herself. At any moment what we are reading might seem like a #MeToo novel, a book of fictional history, a book of real history, a fantastical adventure of magical statuary, an autofiction, or a “systems novel,” one that looks at how individuals act and are acted upon within structures and institutions, whether a marriage or a university. As Percival Everett says “If Lucy Ives is as smart as her novel Life Is Everywhere, then I am in complete awe. . . . How many books in one and yet one book. This is great writing.” And Jesse Ball aptly adds about this erudite and sly invention, Ives “slays enemy and friend alike.”

For the bonus audio Lucy Ives contributes a reading of a five-part writing exercise called “Exercises for Writing from Memory.” This joins contributions from writers as varied as Ted Chiang, N.K. Jemisin, Dionne Brand, Arthur Sze, Max Porter, and more. To learn about how to subscribe to the bonus audio and the other many potential benefits of joining the Between the Covers community as a listener supporter head over to the show’s Patreon page.

Finally here is the Bookshop for today’s conversation.

 

The post Lucy Ives : Life Is Everywhere appeared first on Tin House.

Who better to talk about the unique power of telling stories than one of our great contemporary storytellers, Neil Gaiman? One deep way Neil Gaiman and Ursula K. Le Guin are kindred spirits is how they both share an abiding interest in the strange, uncanny relationship between truth and fiction, truth and myth, the imagination and the real, the fantastic and reality, and the ways we seem hardwired, from childhood onward, to be adept at finding the enduring truths within stories that others have “made up.” Today’s conversation, as the final one in the Crafting with Ursula series, serves a double purpose. Yes, we do a deep dive into word magic, into the power and purpose of creating and telling stories, into the spells they weave and why. But we also celebrate Le Guin, the intelligence and music of her words, her spells, by having Neil Gaiman, one of the most mellifluous and recognizable narrative voices today, read excerpts of Le Guin’s work for us, from A Wizard of Earthsea to The Lathe of Heaven to Always Coming Home.

Whether you’ve been following the Crafting with Ursula series from the beginning, or whether Neil Gaiman is what brought you here for the first time, don’t miss the many other science fiction and fantasy conversations within the main Between the Covers show. You can go to the show’s homepage and sort the archive for “SFF” and not only find the three conversations with Ursula K. Le Guin herself, but also conversations with many others including Ted Chiang, Jeff VanderMeer, N.K. Jemisin, China Miéville, Nnedi Okorafor, William Gibson, Sofia Samatar, Neal Stephenson, Marlon James, Jo Walton, Kelly Link, Daniel José Older, David Mitchell and more.

If you enjoyed today’s conversation consider transforming yourself from a listener to a listener supporter. Each supporter receives a resource-rich email with each episode, can join our collective brainstorm, our collective dreaming of who to invite as future guests, and there are a wide variety of other possible benefits from the bonus audio archive to rare Le Guin collectibles. Check it all out at the show’s Patreon page.

Finally here is the Bookshop for today’s conversation.

photo credits: William Anthony (Le Guin), Beowulf Sheehan (Gaiman)

The post Crafting with Ursula: Neil Gaiman on Word Magic & The Power of Telling Stories appeared first on Tin House.

Of Sawako Nakayasu’s many literary endeavors—poetry, translation, performance art—it is hard to know where one begins and another ends. They each seem to not only be talking to each other but Sawako’s work also blurs the boundaries between them, nesting each within the next in a way that illuminates something about all three. Her latest poetry collection, Pink Waves, is a perfect example of this, poetry written within a durational performance, one that involves “microtranslations” of the syntax of the works of others. As Fred Moten says about Pink Waves: “In a deliberate lyricism of regathering, tethering, and receding precedence, in a perpetual canon that keeps spilling and sifting and replenishing what feels like dancing, in a series of breaks weaving wave and snap into writing that listens, Sawako Nakayasu takes the measure of the enjoyment we derive from sensing and making sense of this wasteland of bandwidth and access. Pink Waves is a delicate instrument. Its spare beauty picks up everything.”

Much of Sawako Nakayasu’s genre-transgressive work calls into question our notions of originality and selfhood, as she herself explores questions of race and gender and sexual orientation within her poems. By bringing together these various elements, Sawako Nakayasu creates generative questions: How can queer theory speak to translation practices? How can we engage with questions of power between nations and languages and cultures by the choices we make in translation? What does performance tell us about ourselves, and the notion of a self to begin with? And how do these performative and translational activities manifest in poetry, in poems?

If you enjoy today’s conversation consider joining the Between the Covers community as a listener-supporter. Each patron receives a resource-rich email with each episode and can participate in the collective brainstorm of who to invite in the future, and choose from a wealth of other rewards and gifts from rare collectibles to writing consultations.  There is also the possibility of subscribing to the bonus audio archive which includes contributions from such luminary poets as Rosmarie Waldrop, Forrest Gander, Dionne Brand, Natalie Diaz, Nikky Finney, Arthur Sze, Layli Long Soldier, and many more. Check it all out at the show’s Patreon page.

And don’t miss today’s Bookshop!

 

The post Sawako Nakayasu : Pink Waves appeared first on Tin House.

“On Seeing and Being Seen” is the title of an Ama Codjoe poem but it could just as easily be a description of her debut collection Bluest Nude as a whole. Bluest Nude is a book that engages with ways of seeing, and its poems often engage with visual art—poems that look at art forms made outside of language but with language, poems that look at how artists look when making art. But more principally Bluest Nude is engaged with looking at how the Black female figure has been (mis)represented in art and asking how a Black female poet can write a poetry that claims a sovereign point of view, that reclaims a Black female subjectivity much as Lorraine O’Grady and Simone Leigh, two of the artists she engages with in her collection, have done in their own work in performance and visual art. These questions of how we see and how we are seen, both by others and by ourselves, call into question notions of selfhood, and the mysteries of how we construct a self, something that only happens in engagement with others, how they see us, how we see them seeing us.

For the bonus audio archive Ama Codjoe presents us with three different strategies to write ekphrastic poetry, poetry that engages with visual art. And much like Dionne Brand did when she contributed readings of forthcoming work from 2023 books by Canisia Lubrin and Christina Sharpe, Ama first reads and discusses a poem by Evie Shockley from her forthcoming collection suddenly we, then she reads one of her own poems, and finally she ends with a long poem by Terrance Hayes from his forthcoming collection So to Speak. To learn how to subscribe to the bonus audio and the many other potential benefits of joining the Between the Covers community as a listener supporter head over to the show’s Patreon page to check it all out.

Here is the Bookshop for today’s episode.

The post Ama Codjoe : Bluest Nude appeared first on Tin House.

Writer and editor Gabrielle Bellot joins Crafting with Ursula to discuss the power of names and naming across Le Guin’s work. From the very beginning, with Ged in Earthsea, a boy-wizard who is named in three very different ways, names have contained both power and an elusive mysterious quality for Le Guin. The ways names can both honor, connect, and reflect something true, or reduce, dismiss, and cause harm speak to deep questions about both language and identity. These are topics Bellot explores in her own writing, both about others—from Edward Gorey to Neil Gaiman, James Baldwin to J.K. Rowling—as well as about her own identity as a multiracial transgender writer from the Commonwealth of Dominica. We take Le Guin’s interest in class, gender, and race down to the level of the sentence and look at the many different ways she has explored names and naming across novels and stories as a means within language to both address the world and listen to it, to both hear the world and speak a new world into being.

Today’s episode of Crafting with Ursula might be most in conversation with the first episode of the series with Becky Chambers, on creating aliens and alien cultures. For one, we return again to explore the world of The Left Hand of Darkness, but we also return to vital questions, as writers, and simply as people, around the importance of how we describe “the other,” “the stranger,” the person or being who we feel is not like ourselves, and what that description, what the names and words we choose, say about us.

If you enjoy today’s conversation, and Crafting with Ursula more generally, consider joining the community of listener-supporters. You can check out all the many potential benefits of doing so at the show’s Patreon page.  Finally here is the Bookshop for today’s episode.

 

 

The post Crafting with Ursula : Gabrielle Bellot on The Power of Names & Naming appeared first on Tin House.

Today’s guest is poet, novelist, playwright, feminist theorist, literary critic, and philosopher Hélène Cixous. Perhaps best known for her iconic 1976 essay “The Laugh of the Medusa,” Cixous thought for much of her writing life that she would never write about her birthplace and childhood in Algeria, that she would never write about her mother, that she would never write about, let alone go to, the German town of Osnabrück from which her mother and mother’s mother escaped (to Algeria) before the town’s entire Jewish population were murdered. But in the last thirty years, to her surprise, these have increasingly become the topics of her work. First writing about and returning to Algeria, and then, in the last twenty years, writing an increasing number of remarkable books about Osnabrück, her mother’s life there, her mother’s return to that city, Cixous’ “return” to it, as well as about her mother’s ultimate expulsion, the second of her life, now from Algeria. We focus today on two of these books, these novel-memoirs: Well-Kept Ruins and Osnabrück Station to Jerusalem.

This strain of Cixous’ work, her novel-memoirs, are not books of autofiction like we’ve come to know them. Yes, they blur the boundaries between fiction and nonfiction but they are as concerned with the borderlands between the conscious and unconscious, waking life and dreams, between history and memory, and literature, imagination and experience, where the present moment in one of these narratives is likely to be inhabited, at the same time, by the seen, the imagined, the dead, and the literature one has read. In her latest book Cixous describes writing as a form of archaeology, historical and literary and ancestral, yes, but I think we could say it is also a psychological archaeology as well, a relation of the writer to her writing and herself.

Today’s contribution to the bonus audio archive is a long-form conversation with Cixous’ longstanding translator Beverley Bie Brahic. It is an in-depth conversation about the pleasures and challenges of translating Cixous’ work that also, additionally, further illuminates Cixous as a person and writer, adding further texture and nuance to the main conversation with Hélène. To learn how to get access to the bonus audio and the other potential benefits of joining the Between the Covers community as a listener-supporter head over to the show’s Patreon page.

Finally here is the Bookshop for today’s episode.

The post Hélène Cixous : Well-Kept Ruins appeared first on Tin House.

Poet Billy-Ray Belcourt has already transformed the memoir form, remaking it—strange, fresh, and new, in A History of My Brief Body. He does something similarly unexpected with his first novel, A Minor Chorus. Deeply aware of the history of the novel, of the sociopolitical forces that shaped what we consider a novel today, a form whose limitations, according to Belcourt, can’t accommodate the reality of an indigenous queer life, this novel is both about the searching for a new form (and a new way of living) and a very example of it. Scholarly and sexual, joyful and citational, embodied and theoretical, A Minor Chorus is somehow a polyvocal narrative of self-making (and unmaking), written for the future, that arrives to us, a new form, as if from the future.

If you enjoy today’s conversation consider joining the Between the Covers community of listener-supporters. Receive the resource-rich email with each episode, participate in the collective brainstorm of who to invite in the future, and check out the many possible gifts and rewards at the show’s Patreon page.

Here is today’s Bookshop with all of Belcourt’s books and most of the books mentioned today, from Saidiya Hartman to José Esteban Muñoz to Judith Butler.

 

The post Billy-Ray Belcourt : A Minor Chorus appeared first on Tin House.

One of Le Guin’s lesser known but lifelong practices was that of a translator. Her translations of the first Latin American Nobel Prize Laureate in literature (and the only Latin American woman to receive the award), Gabriela Mistral, were the first truly substantive presentations of her work in both English and Spanish. She’s translated other poets and novelists from Chile and Argentina (Angélica Gorodischer, Diana Bellessi), as well as individual poems by Rilke and Goethe. And for many decades she worked on her now much beloved rendition of Lao Tzu’s Tao Te Ching. Le Guin also reread the Aeneid in Latin as part of her preparation to write her final novel, Lavinia, Le Guin’s retelling of that classic epic of Virgil’s but from the point of view of a voiceless woman in the original. There were many feminist choices and considerations that went into both how Le Guin translated and who she chose to translate. That is also true of today’s guest Maria Dahvana Headley who has done both a contemporary feminist retelling of Beowulf in her novel The Mere Wife and who has also translated, to much critical and public acclaim, Beowulf itself, engaging with both the masculinity in the original and the misogyny inserted by various male translators over the centuries. She, like Le Guin, has also engaged with the Aeneid. Her ten-part musical adaptation of the epic is forthcoming. Together, we look at questions of feminist translation in both Maria and Ursula’s work and explore multiple theories on why Le Guin’s novels inspire many of today’s woman writers engaging with classical texts.

If you enjoyed today’s conversation consider joining the Between the Covers/Crafting with Ursula community by becoming a listener-supporter of the show. Receive resource-rich emails with each episode, joining the collective brainstorm of who to invite in the future, and choose from a wide and deep selection of potential rewards and gifts, including rare Le Guin collectibles. Check it all out at the show’s Patreon page.

Finally here is today’s Bookshop.

The post Crafting with Ursula : Maria Dahvana Headley on Feminist Translation & Classical Retellings appeared first on Tin House.

Today’s guest Dionne Brand, to borrow the words of John Keene, “is without question one of the major living poets in the English language.” Kamau Brathwaite called Brand “our first major exile female poet.” Adrienne Rich described her as “a cultural critic of uncompromising courage, an artist in language and ideas, and an intellectual conscience for her country.” Dionne Brand is, as well, a celebrated and beloved novelist, essayist, filmmaker, editor, activist, and thinker. But today, with the release of the landmark work Nomenclature: New and Collected Poems, which gathers eight volumes of her poetry between 1982 and 2010, and includes a new book-length poem never before published, today we center her poetry, and look at why she considers herself a poet first and foremost. What does stepping back together, and looking at her body of work across the decades, tell us about her poetry over time? How is time itself related to her deep engagement with Black life and liberation in her writing? How does Brand employ language as a means to gesture toward an otherwise, an elsewhere, in order to both write toward a future and from a future time?

For the bonus audio archive Dionne Brand contributes readings from two of the most-anticipated releases of 2023, a reading from poet Canisia Lubrin’s fiction debut Code Noir and a reading from Christina Sharpe’s Ordinary Notes. This joins a robust archive of supplemental material from Nikky Finney reading from Lorraine Hansberry’s diaries to Myriam Chancy reading and teaching from a passage of Jamaica Kincaid’s to a craft talk on the art of narrative seduction by Marlon James. To learn how to subscribe to the bonus audio and the other potential benefits of joining the Between the Covers community as a listener-supporter head over to the show’s Patreon page.

Finally here is today’s Bookshop.

The post Dionne Brand : Nomenclature — New and Collected Poems appeared first on Tin House.

“White supremacy makes for terrible readers” says today’s guest Elaine Castillo, arguing that we are all overeducated in a set of fundamentally terrible reading techniques, ones that impoverish us as readers and thinkers, ones that diminish the availability of meaning and meaningfulness in our lives. When Castillo says “read,” and suggests that how we read needs a reevaluation, she is indeed talking about books. But not only. “How to read” extends to what we watch—television, movies, the news—to how we read our histories, and ultimately to how we read the world. What if we aren’t really reading in the true sense at all? And what would a real reading practice, one that is not extractive but one that itself endows meaning, what would it do for us as readers, or as writers or art-makers or activists, and most importantly, as thinking and feeling people in the world? Join Elaine Castillo as she challenges us to re-vision reading.

If you enjoy today’s conversation consider joining the Between the Covers community. Every supporter, regardless of level of support, gets resource-rich emails with each episode, and can participate in our collective brainstorm around what future guests we should invite on the show. There are also a wealth of gifts, rare collectibles, the bonus audio archive, and more available to choose from.  You can check it all out at the show’s Patreon page.

Here is today’s Bookshop too.

The post Elaine Castillo : How to Read Now appeared first on Tin House.

Today’s conversation is about one of Ursula K. Le Guin’s most iconic and influential essays: The Carrier Bag Theory of Fiction, an essay that deserves an entire episode to itself. And who better to discuss it than Lidia Yuknavitch, whose latest novel Thrust follows a character who herself is a “carrier.” Because this essay has influenced not only an incredible number of  writers but anthropologists, visual artists, filmmakers, performance artists, scholars, and musicians as well, we weave in the voices of others, across disciplines, as we talk about and unpack this work of Le Guin’s. The Carrier Bag Theory of Fiction interrogates questions of labor and economy, and interrogates gender in relation to inherited story forms, and looks at the power of story, both to tell and to silence. Le Guin’s essay is her way to reimagine the shape of a story, to dethrone the hero to allow many less familiar and stranger stories to find their way. And she invites us all in to figure it out with her.

If you enjoy the Crafting with Ursula series consider transforming yourself from a listener to a listener-supporter. Every supporter gets a resource-rich email with each episode chock full of things referenced in the conversation and things discovered in preparing for it. But there are a ton of other goodies, from rare Le Guin collectibles to the book Ursula and I did together, Ursula K. Le Guin: Conversations on Writing, and much more. You can check it all out at the show’s Patreon page.

And lastly, here is today’s Bookshop.

The post Crafting with Ursula : Lidia Yuknavitch on The Carrier Bag Theory of Fiction appeared first on Tin House.

Claire Schwartz’ poetry collection Civil Service looks at the ways ordinary, everyday actions uphold and sustain state violence, the ways civility can and does serve extraordinary atrocities. The world of this collection, populated by civil positions—The Accountant, The Archivist, The Curator, The Intern—also has within it a fugitive voice, a disruptive voice, the voice of Amira. Her voice, if not beyond language, nevertheless reaches to its edges, reaches beyond the dominant meaning-making of the system that precludes her, reaches toward and imagines an elsewhere and an otherwise. Our conversation ranges widely, weaving Claire’s thoughts on her own work with the writings of Paul Celan, June Jordan, Gwendolyn Brooks, Edmond Jabès, Dionne Brand, and many others. All in service of asking what it means to write poetry towards love and revolution.

Claire also contributes a reading of Edmond Jabès to the bonus audio archive. Joining an ever-growing wealth of supplemental material, from Alice Oswald reading from the Book of Job to Jen Bervin reading from the letters and prose of Paul Celan and then one of her poems under his influence. The bonus audio is only one of many potential rewards of becoming a listener-supporter and joining the Between the Covers community. You can check out everything at the show’s Patreon page.

Lastly, here is the Bookshop for today’s conversation

The post Claire Schwartz : Civil Service appeared first on Tin House.

Morgan Talty’s collection of linked short stories is set on the Penobscot Reservation on Indian Island in Maine. But Morgan is quick to point out that these stories are not Penobscot stories in so far as they do not ‘represent’ the Penobscot people, that even people who are praising the book are often falling into this trope of “exoticized foreknowledge.” As we talk about his acclaimed debut fiction collection, we talk about this term (coined by David Treuer), about the problematic ways people often come to literature written by Native Americans, and the ways Talty himself subverts these expectations. We talk about symbols in stories, about the challenges of being the sole well-known Penobscot fiction writer, about writing in a way that does not perform indigeneity for the white gaze and much more.

For the bonus audio archive Morgan contributes a reading of his essay “The Citizenship Question : We the People” which extends our discussion from the main conversation about blood quantum, Native identity, and questions of belonging. This joins an ever-growing archive of supplementary bonus audio, including from indigenous writers Terese Marie Mailhot, Elissa Washuta, Brandon Hobson, Natalie Diaz, Layli Long Soldier, and Jake Skeets, among many others. To learn how to subscribe to the bonus audio archive and about the many other potential rewards and benefits of joining the community of Between the Covers listeners-supporters, head over to the show’s Patreon page.

Lastly, here is the Bookshop for today’s episode.

The post Morgan Talty : Night of the Living Rez appeared first on Tin House.

Ursula K. Le Guin’s biographer, Julie Phillips, joins “Crafting with Ursula” to talk about the writing mother, how Le Guin’s embrace of both writing and motherhood influenced her engagement with feminism, as well as with story form, and ultimately how it prompted her to develop a philosophical framework from which to re-vision her own work going forward. Julie is not only the perfect guest to discuss this because of the regular conversations she had with Le Guin over the years, but also because she is the author of The Baby on the Fire Escape: Creativity, Motherhood and the Mind-Baby Problem. This book looks at six writing mothers, from Audre Lorde to Doris Lessing to Angela Carter to Ursula herself, and how they each navigated becoming and defending a life as both a writer and as a mother.

If you enjoyed today’s conversation consider becoming a supporter of the show. There are many potential rewards and benefits of doing so, from resource-rich emails with each episode, to bonus audio from past guests, everyone from N.K. Jemisin to Ted Chiang, to rare Le Guin collectibles. You can check it all out at the show’s Patreon page.

Finally here is today’s conversation’s Bookshop.

The post Crafting with Ursula : Julie Phillips on the Writing Mother appeared first on Tin House.

Daniel Mendelsohn’s latest book you could say is about digression and about ring composition, a form of storytelling with digression at its heart. And yet this book, about digression, is not only his shortest and most concise, a mere 112 pages, but also somehow contains all the concerns of his previous books and much more, distilled down into a tight hypnotic spiral. A book about Homer and the Hebrew Bible, about the Odyssey and the Holocaust, about forced migration, exile, and unexpected hospitality, about Proust, Sebald, Auerbach, Fénelon and many others lost to history. But ultimately it is about representation and narrative. Of how best to represent something in a way that feels most true, whether when telling a story, performing a play, building a monument, or creating a memorial. Three Rings is as much a meditation on art-making and writing as it is a meditation on memory and remembering; the mysteries of both, and also the thorny political and ethical questions that arise when choosing to represent reality in one way or another.

A conversation rich with references, you can find many of the books mentioned in today’s conversation at the Bookshop for today’s episode.

If you enjoyed today’s conversation, help ensure the future of in-depth conversations just like this by becoming a part of the Between the Covers listener-supporter community. Find out all the potential rewards and benefits of doing so at the show’s Patreon page.

 

The post Daniel Mendelsohn : Three Rings — A Tale of Exile, Narrative, and Fate appeared first on Tin House.

The Immortal King Rao is somehow three narratives in one, a historical novel set within a Dalit community in 1950s India, a near-future tech dystopia on the islands of the Puget Sound near Seattle, and an immigration story from the former to the latter. As a technology reporter herself, Vauhini Vara is interested in artificial intelligence in relation to writing and narrative, and she has found an ingenious tech-assisted point of view to tell this story of India and the United States, of caste and capitalism, of corporate governance and the anarchist resistance to it, in the most novel of ways.

This may be the only podcast you listen to this year where pneumonoultramicroscopicsilicovolcanoconiosis, the longest word in the dictionary, is spoken. Surely it is the only one that looks at everything from artificial intelligence to anarchism, Ambedkar to Gandhi, global capitalisms to global feminisms, and questions of representation, diversity, and erasure within everything from technology itself to whose stories get published and read.

During today’s conversation Vauhini mentions many books by Dalit authors (as well as books about Taoism and anarchism and capitalism) and we’ve collected many of them in today’s Bookshop. Vauhini’s contribution to the bonus audio archive is also of note. She reads from and discusses her award-winning essay “Ghosts,” which engages with an artificial intelligence called GPT-3. Vara believes it is a technology that could be useful for writers that are having trouble finding the language for something that defies words, much as her engagement with GPT-3 helps her find a way into the grief she felt about losing her sister, something until then she had been unable to write into. This joins bonus audio from so many others: from Viet Thanh Nguyen reading and discussing Maxine Hong Kingston to Ted Chiang reading his essay on why Silicon Valley fears super-intelligent A.I.  You can find out more about subscribing to the bonus audio and about the many other potential rewards and benefits of becoming a listener-supporter and joining the Between the Covers community at the show’s Patreon page.

The post Vauhini Vara : The Immortal King Rao appeared first on Tin House.

“People who deny the existence of dragons are often eaten by them,” says Ursula K. Le Guin. “From within.” This is just one of many quotes that arise from Le Guin’s high regard for the child reader and for the unique intelligence of children. Her philosophy around the importance of the imagination and of imaginative fiction is also rooted in this regard for children. Le Guin’s respect for their unique intelligence, on its own terms, connects to many of her other concerns as well, whether ecological, political, cosmological, or literary. So we are lucky today to have National Book Award–winning children’s author William Alexander on Crafting with Ursula. Le Guin not only held his work in high regard, but they reviewed each other, became friends, and corresponded. Alexander himself has thought deeply about the longstanding fear of the imagination, and how it is playing out today, whether in schools, with the battles for what is considered acceptable literature or acceptable history to teach, or in relation to “the other,” the fear of the stranger, the fear of the nonhuman, the fear of that which is both real and true and something we can’t understand.

For the bonus audio archive Will contributes a description of his playful and theatrical writing exercise called “Smoke.” An associative nonlinear technique, “Smoke” is something he uses to either create or develop characters in his stories to help them come alive on the page. This joins bonus audio from many past guests, from Daniel José Older and Ted Chiang to Carmen Maria Machado and N. K. Jemisin. You can find out how to subscribe to the bonus audio and check out all the other potential rewards of becoming a listener-supporter, from Le Guin collectibles to becoming an early reader for Tin House, receiving twelve books over the course of a year months before they are available to the general public, at the show’s Patreon page.

Finally, here is the Bookshop for today’s episode, including the books discussed today by both Le Guin and Alexander.

The post Crafting with Ursula : William Alexander on Writing for Children appeared first on Tin House.

Hernan Diaz’s debut novel In the Distance went on to become not only one of the great debuts of the year, but a finalist for the Pulitzer Prize in fiction and the PEN/Faulkner award. His follow-up Trust is also a book that engages with and interrogates the stories that the United States tells about itself and the mythologies it creates, but this time focusing not on the Western frontier but rather on the accumulation of capital and the mythos of money. But Trust is really about the contract between reader and writer, fiction’s relationship to truth and history, and the way the “reality” of what really happened is often built upon the erasure of certain voices. Trust is a marvel of both form and voice. It is a nested puzzle that requires the reader to be a textual detective, and yet, at the same time, remains a compulsive, immersive reading experience. Somehow the book is able to shift styles—from that of Edith Wharton or Henry James to that of Jean Rhys or Virginia Woolf—and not only remain a cohesive project but deepen as it sheds one skin and assumes another.

If you enjoy today’s deep dive with Hernan Diaz consider joining the Between the Covers community as a listener-supporter. There are many benefits and rewards for doing so.  Check them all out at the show’s Patreon page. Lastly, here is today’s Bookshop with all of the books mentioned today.

The post Hernan Diaz : Trust appeared first on Tin House.

The first time Rae Armantrout came on the show, in 2017, we looked at her poetry through the lens of her interest in quantum physics. Now, five years later, with the release of this double collection of poems, we look at her career-long desire to cultivate a poetics that encourages life to interrupt and interject within her poems, to disrupt what her constructing mind desires to write and change the poem’s trajectory. We look at this approach, and the resulting poems, through another of Rae’s longstanding interests: cognitive science, not only how we perceive or think, but how we construct meaning and to what end. This takes us many places, from anthropology to philosophy, but always returns us to the mysteries of language and language-making and to questions of selfhood, voice, and truth.

For the bonus audio archive Rae contributes a reading of many poems from her  just-finished manuscript, giving us an early sneak peek of what is coming next for her. This joins bonus readings from Jorie Graham, Alice Oswald, Rosmarie Waldrop, Nikky Finney, Natalie Diaz, Layli Long Soldier, Forrest Gander, Arthur Sze, and many others.  The bonus audio is only one potential benefit of becoming a supporter of the show and joining the Between the Covers community. There are many other gifts and rewards to choose from, all of which you can find at the show’s Patreon page.

Lastly here is this episode’s Bookshop with all the books mentioned today.

The post Rae Armantrout : Finalists appeared first on Tin House.

Today’s guest, Kim Stanley Robinson, is perhaps the living writer most associated with utopian literature today. And as a student of the philosopher, political theorist, and literary critic Fredric Jameson, Robinson has thought deeply about the history of utopias, the history of the novel, and the strange hybrid form that became the utopian novel. In his mind it was Ursula K. Le Guin who wrote the first truly great utopian novel. We discuss Le Guin’s utopian work alongside his, and contextualize her importance historically. Robinson also shares some incredible anecdotes from his time in the 70s as her student and the ways their lives as fellow writers have intersected over the decades.

What is a utopian novel? What is an ambiguous utopia? And why has this genre become a particularly vital form and even a critical tool of the human imagination today? Listen in to find out. And if you enjoy this series consider transforming yourself from a listener into a listener-supporter. Head over to the show’s Patreon page to check out all the potential rewards and benefits of doing so, from rare Le Guin collectibles to bonus audio from SFF luminaries. Lastly, here is the Bookshop for today’s episode which contains many of the books and stories discussed today.

 

The post Crafting with Ursula : Kim Stanley Robinson on Ambiguous Utopias appeared first on Tin House.

Courtney Maum’s latest book, her memoir The Year of the Horses, is about a writer at a rough point in her writing career, in her marriage, as a mother, as a woman, finding a way back to herself in all of these spheres by learning to listen and communicate, outside of language, to another species. What are the therapeutic benefits of learning to be with a horse of all creatures, an animal that is not geared towards comforting us or aiming to please? Why do anxious or traumatized people find help by being with an anxious animal?  And what can a person like Courtney, whose life is word-centric, as a language maker, a writer, bring back to language when returning to the desk from the barn?

We discuss these questions, but we also unpack issues of gender and misogyny with regards to how memoir writing is framed, and talk about the status of women and animals in the world of writing and the world of riding both. Lastly, because Courtney is a writing teacher, a writing coach, and the author of Before and After the Book Deal, we talk about agents and editors, drafting and revision, and about useful tips and techniques to take one’s abundance of life material and shape it into story. 

For the bonus audio archive Courtney contributes a discussion of an essay by poet, essayist, and psychoanalyst Nuar Alsadir. This joins bonus readings from everyone from Ada Limón to Teju Cole, Sheila Heti to Victoria Chang. To find out how to subscribe to the bonus audio and the many other potential benefits of becoming a supporter of the show head over to the Between the Covers Patreon page.

Here is the Bookshop for today’s conversation with all the books mentioned today.

The post Courtney Maum — The Year of the Horses appeared first on Tin House.

Today’s guest Ada Limón discusses her latest collection of poetry, The Hurting Kind, whose poems ask and explore what it means to be a human animal among animals, and how language can be a means or an obstacle to this desire. We talk about the relationship of joy to death, poetry to praise, and the desire to and challenges of writing with directness, with an aim to connect. We look at the trajectory of Ada’s poetics, one she describes as getting closer and closer to who she really is, and what it means, in language and on the page, to aim for authenticity, for the “I” in your poems to really be, or aim to be, you.

We also talk about pizza, groundhogs, and the Argentinian poet Alejandra Pizarnik (and I make an improbable connection between the three!). Pizarnik is a big part of our conversation and for the bonus audio archive, Ada contributes a reading of some Pizarnik poems that she particularly loves. To learn more about how to subscribe to the bonus audio and the other potential benefits and rewards of becoming a supporter of the show, head over to the Between the Covers Patreon page.

Lastly, here is the Bookshop for today’s episode, with all the books mentioned.

The post Ada Limón : The Hurting Kind appeared first on Tin House.

Today’s conversation with adrienne maree brown begins with the notion that all organizing is science fiction, and thus that social justice and science fiction are intricately linked imaginative acts, acts that have real effects in the world at large. brown looks at works by Le Guin that she considers foundational texts for activists and organizers, and discusses what it means to do the work of imagination, as well as the dangers of not doing that work, of living within a world imagined by others, people who might not fully imagine you. Many of adrienne’s concepts, from ‘emergent strategy’ to ‘fractal responsibility,’ are linked to everything from Le Guin’s interest in anarchism to their shared interest in Taoism.

If you enjoyed today’s conversation consider becoming a supporter of the show. Check out all the possible rewards and benefits of doing so, from rare Le Guin collectibles to access to bonus audio by Ted Chiang to N.K. Jemisin, to becoming an early reader for Tin House, receiving books months before they are available to the general public by going to the show’s Patreon page.

Lastly, here is today’s Bookshop, which contains the books by Le Guin mentioned today and many of adrienne’s books, from her debut novel Grievers to her books on social activism to the anthology she coedited, Octavia’s Brood.

 

 

The post Crafting with Ursula : adrienne maree brown on Social Justice & Science Fiction appeared first on Tin House.

Cristina Rivera Garza returns to the show to discuss her New and Selected Stories, which gathers together fiction across thirty years of her writing life. Some are stories translated into English for the first time. Others are stories in English that haven’t yet appeared in Spanish. Still others are new versions, rewritten, retranslated or both. We talk about her lifelong interest in troubling the borders between these two languages, Spanish and English, and the borders between Mexico and the United States, even between writer and translator. But Cristina also undermines the borders of selfhood and identity in such uncanny ways, ways that have implications around gender and the status of women, and around nature and the status of the nonhuman other. In addition we look at some of her more scholarly work on “necrowriting” (writing with the dead) and what it means to have a writing practice of “disappropriation,” one that returns writing to its plural form.

Today’s bonus audio is a long-form conversation with Cristina’s longtime translator Sarah Booker. Among the many things we discuss is the unique fashion in which Cristina and Sarah write and rewrite, translate and retranslate each other’s work, a horizontal relationship that redefines authorship and is informed for both of them by a feminist ethics. To learn more about how to subscribe to the bonus audio and to check out the many other potential benefits and rewards of joining the Between the Covers community as a supporter, head over to the show’s Patreon page.

Finally, here is this episode’s Bookshop.

The post Cristina Rivera Garza : New and Selected Stories appeared first on Tin House.

Today’s guest, Caren Beilin, talks about her latest novel Revenge of the Scapegoat. All four of her books—two nonfiction, two fiction—each stand alone but they each also share recognizable people/characters that travel across books and across genre. How do the fictional versions of the real people in her life—her partner, her parents, her siblings, her friends—relate to their “real selves” and how does this spilling over from one book to the next help Caren engage with shared questions that animate them all? We talk about what it means to write prose with a disability poetics, about pain’s relationship to form, about the unruly body and body humor, and about creating stories that interrogate and undermine destructive systems, from medical and institutional gaslighting to ‘the scapegoat mechanism,’ to the dynamics of the family unit itself. We also talk about sentences, about the pleasure and power of knots of language, as a site for expression, rebellion, and even liberation.

For the bonus audio archive, Caren discusses and reads from Flaubert’s final, unfinished novel Bouvard et Pécuchet, the novel whose two grumpy old men, Bouvard and Pécuchet, Caren’s most recent protagonist names her two painful, arthritic feet after. To find out how to subscribe to the bonus audio and to check out all the other potential benefits of becoming a listener-supporter of the show (including a limited number of signed copies of Caren’s Blackfishing the IUD) head over to the show’s Patreon page. And finally here is today’s Bookshop which contains many of the books mentioned today (from those by Sheila Heti, Gustave Flaubert, and René Girard to those by Beilin herself).

 

The post Caren Beilin : Revenge of the Scapegoat appeared first on Tin House.

Today’s guest on Crafting with Ursula, the award-winning writer of science fiction, fantasy, and historical fiction Karen Joy Fowler, was a longstanding friend of Ursula K. Le Guin. And they both shared a deep interest not only in science, but also in raising questions about the biases deeply embedded in the way we conduct it (species biases, cultural biases, gender biases, etc.). These questions about science enter and animate their stories, stories that examine the foundations of species supremacy, of how we define intelligence (and why), of what qualities we want to reserve and defend as human or humane, of the implications on both animals and women when we feminize certain approaches to knowledge and inquiry and then discount them. This is a great complement to the last Crafting with Ursula with Isaac Yuen, both deeply engaged with questions of the human and nonhuman in storytelling, and yet these two conversations go to very different, if kindred, places.

If you enjoyed today’s conversation consider transforming from a listener to a listener supporter of the show. Join the collective brainstorm of who to invite on the show going forward, get the supplementary resources that go out to supporters with each episode, and check out the other potential rewards of doing so, from rare Le Guin collectibles to bonus readings from everyone from N. K. Jemisin to Ted Chiang, at the show’s Patreon page.

Finally here is today’s Bookshop with many of the books by Le Guin, Fowler, and others mentioned during the conversation.

The post Crafting with Ursula : Karen Joy Fowler on Experimental Women, Animals, Science & Story appeared first on Tin House.

Sheila Heti returns to Between the Covers to discuss her latest unclassifiable novel Pure Colour. When something happens in your life that upends everything you thought you knew, that changes what you notice and value, something that is hard, if not impossible, to put into language, that mystifies you even now, how do you find a new form to reflect this? We discuss what it is to write books influenced less by other books than by other art forms (what does it mean to try to write more like a painter paints or sculptor sculpts?), about the role of criticism and inviting other writers into the process of a book becoming itself, about the art critic characters in her new book that are imagining a future world better than this one, and much more.

For the bonus audio archive Heti discusses and reads from her serialized Oulipian project, taking her diary entries from the past ten years and alphabetizing the sentences (this joins a previous contribution by Sheila, a reading of her essay “My Life is a Joke”). To learn how to subscribe to the bonus audio and about the many other potential benefits and rewards of joining the community of Between the Covers supporters, head over to the show’s Patreon page.

Finally here is the Bookshop for today’s episode with many of the books mentioned.

The post Sheila Heti : Pure Colour appeared first on Tin House.

Today’s guest is Chilean novelist, essayist, literary critic, and poet Alejandro Zambra, talking about his latest novel Chilean Poet, a novel brimming over with, yes, Chilean poets and poems, but also with love and laughter, artistic dreams and failures, and the desire to find language for things deeply felt that have no name. This conversation, one about everything from writing itself to translation, cats to parenthood, Mexico to Chile, Roberto Bolaño to Nicanor Parra, and poetry to prose, is ultimately one wondrous love letter to literature, those who make it and those who read it.

Whenever a guest comes on the show for a book they wrote in another language than English, I try to do a second long-form conversation with the translator for the bonus audio archive. The bonus audio (one of the potential benefits of becoming a listener-supporter of the show) is full of a wide variety of supplemental material (from readings to craft talks) but the most robust material, often hour-long conversations, are these conversations with translators. These include Sophie Hughes (translating Fernanda Melchor), Kurt Beals (translating Jenny Erpenbeck), Suzanne Jill Levine (translating Cristina Rivera Garza), and Emma Ramadan (translating Abdellah Taïa). Today’s translator conversation is with Megan McDowell, who has translated Alejandro since his 2nd book and who translates many other South American writing luminaries (e.g. Samanta Schweblin and Mariana Enriquez).  To learn more about the potential benefits of becoming a supporter of the show, including the bonus audio, head over to the Between the Covers Patreon page.

And here is the Bookshop for today’s conversation with many of the books mentioned during it.

The post Alejandro Zambra : Chilean Poet appeared first on Tin House.

Today’s “Crafting with Ursula,” a conversation with nature writer Isaac Yuen, explores Le Guin’s writing of the nonhuman other in her fiction. Why might we consider decentering the human within our stories and how do we do so? How does one evoke a truly alien intelligence (i.e. that of a plant or an insect) but using human language for a human readership? Looking closely at three of Le Guin’s short fictions, “The Direction of the Road,” “Bones of the Earth,” and “The Author of the Acacia Seeds and Other Extracts from the Journal of Therolinguistics,” Isaac and David discuss the various strategies Le Guin uses to evoke a world that is more than human, and that stretches past human comprehension. We place these stories alongside stories and essays of Isaac’s to find the ways Le Guin and Yuen’s work speak one to another.

This episode’s Bookshop contains all the Le Guin books mentioned in today’s conversation along with Yuen’s  favorite touchstone books of nature writing in both fiction and nonfiction.

If you enjoyed today’s conversation, consider becoming a supporter of the show. Check out all the potential benefits and rewards, including Le Guin collectibles, bonus audio from iconic SFF guests, and more at the Between the Covers Patreon page.

The post Crafting with Ursula : Isaac Yuen on Writing Nature & Nature Writing appeared first on Tin House.

It’s been five years since Solmaz Sharif’s first appearance on Between the Covers, for her National Book Award–finalist debut collection Look. Since then, many listeners have pointed to this conversation as one of the most memorable episodes to date. Solmaz returns today to discuss her much-anticipated follow-up, Customs. We talk about belonging, exile and language, about what it means to write against goodness, to write uncivilly, to write against language even. We look at the ways her poetry has changed from one book to the next, and the vulnerability and fear of writing from a single voice, in the first person, rather than through the poly-vocal conceptual frame of Look. We also take some of Solmaz’s animating questions into the world of the classroom, into poetry pedagogy, as well as out into the world, as a lens into the lives of political poets, and into what poems can (and can’t) do.

Check out today’s Bookshop, where the works of writers we engaged with today, from June Jordan to Dionne Brand to Forough Farrokhzad, can be found. Also if you enjoyed today’s program consider becoming a listener-supporter of the show. There are many potential benefits and rewards of doing so, including becoming an early reader for Tin House, receiving twelve books over the course of a year months before they are available to the general public, rare collectibles from past guests (from Ursula K. Le Guin to Nikky Finney), and the bonus audio archive with contributions from Kaveh Akbar, Rabih Alameddine, Phil Metres, Layli Long Soldier, Alice Oswald, Jorie Graham, and more. These and many other things can be found at the show’s Patreon page.

 

The post Solmaz Sharif : Customs appeared first on Tin House.

Writer and performance artist Gabrielle Civil talks about her latest book the déjà vu: black dreams & black time, as well as her chapbook ( ghost gestures ), chosen by Bhanu Kapil for the Gold Line Press Nonfiction prize. What does Civil mean by “Black time” and how does she enact this in the déjà vu? What is “performance writing” or “performance memoir” and how do her work on the stage and on the page speak to each other across forms? What does it mean to consider one’s ancestry, one’s lineage, one’s generation, and future ones, in the “now” of your work? Civil discusses all of this and much more in today’s conversation.

Today’s episode touches on the work of everyone from bell hooks to Dionne Brand to Ntozake Shange to Alexis Pauline Gumbs. This abundance of referred-to books, as well as Gabrielle Civil’s own, have been collected in this episode’s Bookshop (a great way to support today’s guest, other writers, independent booksellers and the show all at one time).

For the bonus audio archive Gabrielle adds a reading and discussion of one of her favorite American sonnets by Wanda Coleman. To find out more about how to subscribe to the bonus audio and the many other potential benefits of becoming a listener-supporter of the show, check out the Between the Covers Patreon page.

The post Gabrielle Civil : the déjà vu appeared first on Tin House.

Today’s guest on the second episode of Crafting with Ursula, Molly Gloss, the acclaimed writer of both award-winning science fiction and fantasy as well as feminist Westerns, has a particular insight into the work and writing life of Le Guin. Gloss’ writing career began as a student of Le Guin’s in a workshop in the 1980s. And yet they soon became friends, were friends and writing peers for thirty-five years, and were in peer writing groups together in both poetry and prose during that time, critiquing each other’s work. Today’s episode focuses on something Ursula herself loved to think about, the meanings that lie beneath the words we write, the music (or lack of music) in a line or sentence that make our stories or our poetry gurgle or sing. And, of course, how to create this meaning from below and why.

While this conversation begins at the level of the line, at the level of the sentence, we do come to talk about the unusual way Le Guin employs technology in her work, a sensibility that informs Gloss’ writing, particularly in The Dazzle of Day. We talk about her different relationship to fiction and to poetry, and perhaps most notably we get to hear a long, never-before-seen, unpublished poem of Le Guin’s that was brought to one of their shared poetry peer groups, a poem about the practice of writing itself.

The Bookshop for today’s episode is particularly robust: Gloss’ most iconic SFF works, Le Guin’s craft books, her poetry, and more. It is just one way to support writers, independent bookstores, and the show all at the same time. If you enjoyed today’s program, consider transforming yourself from a listener to a listener-supporter. There are many potential benefits of doing so, from the bonus audio archive to rare collectibles from past guests including from Ursula K. Le Guin herself. Check it all out at the show’s Patreon page.

The post Crafting with Ursula : Molly Gloss on Writing the Clear, Clean Line appeared first on Tin House.

Writer, critic, performer, & visual artist James Hannaham talks about his latest and most uncategorizable book Pilot Impostor. This book slips between the borders of prose and poetry, fiction and nonfiction, image and text, facts and fake news, selfhood and persona, pretending and privilege. And Pilot Impostor comes into being piece by piece through an engagement with the work, poem by poem, of Fernando Pessoa, a writer who created and wrote from over seventy (!!!) different heteronyms (personas that interacted with each other and had full biographies, from a bisexual naval engineer in Scotland to an uneducated Portuguese shepherd trying to unlearn even more). And yet this book of Hannaham’s is also somehow about Trump, air disasters, the nature of selfhood, and the ongoing legacy of colonialism and slavery. How is this all possible? Well, listen in to find out!

Here is the Bookshop for today’s conversation, with all of the books mentioned today, where you can support writers, independent bookstores, and the podcast all in one act. If you enjoy today’s episode, consider becoming a listener-supporter of Between the Covers. Many past guests, from Nikky Finney to Ursula K. Le Guin, have donated collectibles for future supporters. There is also the possibility of becoming a Tin House early reader, receiving twelve books over the course of a year, months before they are available to the general public. And every supporter joins a community that is helping shape the future of the show, as well as receiving a resource-rich email with each conversation. Check it all out at the Between the Covers Patreon page.

 

The post James Hannaham : Pilot Impostor appeared first on Tin House.

Rabih Alameddine talks about his new novel The Wrong End of the Telescope, which is set on the island of Lesbos amidst the medical personnel and tourist-volunteers involved with helping the arriving Syrian refugees. Interestingly, the writer, one suspiciously similar to Rabih himself, is a secondary character in this novel, a character who asks Mina, a Lebanese-American doctor, to tell this story, to be the narrator, because the writer is too undone by the situation to do so. We talk about narrative distance, about how to find what Rabih calls “the Goldilocks distance” not too enmeshed, not to detached, to be able to effectively tell a story that needs to be told. We talk about the power and limits of literature, of empathy, of volunteerism, about why each of Rabih’s books is a rebellion against the one before, about how to write without relying on the reader’s preexisting emotions and why one might want to do so.

The Bookshop for this episode contains most of the books mentioned today (from Vivian Gornick to Elisa Gabbert to Italo Calvino, and of course most of Rabih’s books that we talk about today too). It is a nice way to support the show, the writer, and independent bookstores, all in one gesture.

For the bonus audio archive Rabih contributes a brief discussion and reading of a favorite poem of his by Fernando Pessoa. To find out about how to subscribe to the bonus audio and about the other potential benefits of becoming a supporter of the show head over to the Between the Covers Patreon page.

The post Rabih Alameddine : The Wrong End of the Telescope appeared first on Tin House.

Today’s guest, Becky Chambers, discusses her own work, and her own considerations when imagining alien cultures and the beings that inhabit them. She does this in light of Le Guin’s novel The Left Hand of Darkness and Le Guin’s short story, “Coming of Age in Karhide,” written by Le Guin 25 years later, but within the same world as the the novel. What does putting these two narratives side by side tell us about storytelling, about audience, about otherness, about the author herself? And what does it mean to imagine worlds not through the science of physics but through the science of culture and the science of bodies? What can be gained by decentering (or even disposing of) plot, conflict, or heroes? And what are the biological and technological considerations one might think about when imagining a future or the beings that might inhabit it?

If this first episode of Crafting with Ursula is your first encounter with the Between the Covers podcast, you can sort the show’s archive by genre, foregrounding, if you desire, all the past science fiction and fantasy conversations with everyone from Ted Chiang and N.K. Jemisin to Neal Stephenson, Daniel José Older, and Kelly Link. All the books mentioned in today’s conversation with Becky Chambers can be found at the show’s BookShop (a nice way to support the author, the show, and independent booksellers all at the same time).

To learn more about the potential benefits and rewards of becoming a listener-supporter of the show, from rare Le Guin collectibles to becoming an early reader for Tin House, head over to the Between the Covers Patreon page.

 

The post Crafting with Ursula : Becky Chambers on Creating Aliens & Alien Cultures appeared first on Tin House.

Poet Victoria Chang talks about her latest and most uncategorizable book Dear Memory: Letters on Writing, Silence, and Grief. A book composed largely of essay-like letters, Dear Memory also contains collages by Victoria, created from the artifacts (mementos, documents, photographs) found in her family’s storage locker, and short poems which she places among the images. What does this formal shapeshifting tell us about this project? How are form and identity related? What does changing form (in this case from poetry to prose) reveal about the self? What role does imagination play in memory? What is post-memory and how does one write into memories that one didn’t have oneself but which nevertheless cast a shadow under which one’s life has been shaped? What does it mean to put language at risk and how does one go about doing it? Is it possible that constructing a self comes not from striving toward wholeness, but from entering the gaps, the silences, the severance, and departures from which one comes?

Today’s conversation invokes the thoughts and work of many other writers (from Brandon Shimoda to Don Mee Choi to Theresa Hak Kyung Cha to Rick Barot). You can check out all the books mentioned (by both Victoria and others) at today’s episode’s BookShop.

For the bonus audio archive Victoria adds a reading from her forthcoming collected The Trees Witness Everything as well as a short discussion of writing using constraints, talking about the multiple constraints that produced the tiny poems in this very different upcoming collection. You can find out how to subscribe to the bonus audio as well as about the other potential benefits of becoming a Between the Covers supporter at the show’s Patreon page.

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Today’s guest, Mexican poet, painter, and translator Valerie Mejer Caso talks about her latest book, the bilingual publication of poetry, collage, and photography Edinburgh Notebook, translated by Michelle Gil-Montero for Action Books. What does it mean to write something both autobiographical and surreal, both dream-like and real? How can questions of selfhood and identity (the identity of nation, of language, of family) become uncanny? What does it mean to write with “shattered language” and how can one find words, images, and forms to capture grief, loss, and death? This only scratches the surface of this conversation with Valerie, one that ranges widely, from Freud’s dreams to Tarkovsky’s notion of time to Raúl Zurita’s thoughts on the relationship of poetry to mortality itself.

Today’s addition to the bonus audio archive is a long-form, in-depth conversation with the translator of Edinburgh Notebook, Michelle Gil-Montero. We talk about translating Valerie Mejer Caso’s work, about studying under poet-translators Forrest Gander and C.D. Wright, about her press Eulalia Books that seeks to translate poetry and hybrid works that are ex-centric and ecstatic and which trouble notions of nation, and about finding the right balance between her own writing, her translating, her teaching, and her editing. Near the end she reads some of her most recent poetry as well. To learn how to subscribe to the bonus audio and the other potential benefits of becoming a supporter of Between the Covers head over to the show’s Patreon page.

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British poet, educator, and writer Raymond Antrobus has two poetry collections out this year. The US release of his award-winning debut The Perseverance and his follow-up, just out now, All The Names Given. We discuss both books in relation to Antrobus’ own particular deaf poetics. What questions do his poems raise about audience and accessibility, about the written, the heard, the signed, the performed? What questions do they raise about sound itself? We also discuss the intersection of deafness and race, and about holding a space for the tensions and contradictions when exploring, in one’s art, both sides of the Antrobus family tree, white, Black, Jamaican and British. All of this and much more.

As 2021 comes to a close, consider becoming a supporter of Between the Covers going into 2022. To find out all the potential benefits and rewards of doing so head over to the show’s Patreon page.

The post Raymond Antrobus : All The Names Given & The Perseverance appeared first on Tin House.

Tice Cin’s debut novel Keeping the House is set within the Turkish Cypriot community of North London. But while it is also set within the heroin trade there, this book is not a crime novel, or if it is, it is like no crime novel you’ve read before. Keeping the House is a book, by Cin’s own description, for people who feel “glitched.” The book “glitches” between past and present, between prose and poetry, and between one language and another and back again. Keeping the House not only subverts the tropes of crime fiction, of hero narratives and the gender dynamics within them, but challenges us to be within a new form, to feel our way forward, carried by the rhythms of this newness on its own terms. Our conversation ranges widely, from glitching to cabbages, artificial intelligence to complex PTSD, sensitivity reads to chosen families, to what it means to keep the house, to find a home.

Tice Cin’s contribution to the bonus audio archive is a first for the show. She asked me to give her a writing prompt so that she could write something new especially for Between the Covers supporters. Having spent some time in North Cyprus myself, the place her family comes from, and given the food-centric formal shape of her novel, I came up with a prompt that is both Cyprus and food-specific and she wrote what could best be described as something that lingers between a poem and a song, one that will take your breath away. To find out how to subscribe to the bonus audio and/or about the many other potential benefits of becoming a listener-supporter of BTC head over to the Between the Covers Patreon page.

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Today’s guest, poet and translator Rosmarie Waldrop, is best known for her prose poetry and for good reason. Waldrop is one of the great prose poetry practitioners and innovators over the course of the last half century. We speak about her latest collection, The Nick of Time, through the lens of the themes, questions, and poetics that animate her work across the decades: her attraction to betweenness, to the gap between two things or between two words; her desire to distress the sentence and to what end; her aversion to metaphor and analogy; and her belief that it is in the silence, the not-said, the unrepresented, the nothingness that lies between two words, where creation and generation truly happens. We also explore her life as a translator, particularly in relation to the work of Egyptian Jewish writer Edmond Jabès, and the friendship they forged through their shared engagement with the mysteries of language (she translated fourteen of his books from French to English), and the questions this relationship raises about identity, both the self and the other.

For the bonus audio archive Waldrop reads from her translation of Jabès’ remarkable “Adam, or The Birth of Anxiety” from The Book of Shares. To learn more about how to subscribe to the bonus audio and the other potential benefits and rewards of becoming a supporter of the show (from rare collectibles to becoming an early reader for Tin House) head over to the Between the Covers Patreon page.

 

The post Rosmarie Waldrop : The Nick of Time appeared first on Tin House.

Today’s guest, Percival Everett, author of twenty-one novels, four short story collections, six collections of poetry and a children’s book, has also been a horse and mule trainer, a jazz guitarist, a fly fisherman, a rehabilitator of mandolins, and an abstract painter. He is, however, best known for his “gleefully unhinged” (New York Times) hard-to-categorize novels, books that engage with the tropes of genre (e.g. detective novels, Westerns, Greek myths) and subvert those same tropes, often in the service of looking at the stories America likes (and more notably, doesn’t like) to tell about itself. We talk today about his latest novel The Trees (Graywolf Press), a book that is somehow a police procedural, a possibly supernatural revenge story, a comic burlesque, and an examination of the ongoing history of lynching in the United States.

If you enjoy today’s conversation consider becoming a listener-supporter of Between the Covers. Find out more about the benefits and rewards of doing so at the show’s Patreon page.

The post Percival Everett : The Trees appeared first on Tin House.

Haitian-Canadian-American writer Myriam Chancy is an acclaimed novelist but she is also a literary scholar who studies, among other things, storytelling. As a scholar instrumental in inaugurating Haitian women’s studies as a contemporary field of specialization, and one who has argued that much of Haitian women’s literature should be viewed through the lens of the novel as revolutionary tool, we talk today to Myriam about her own latest novel, a polyvocal choral work that takes place just before, during, and just after the 2010 earthquake in Haiti, What Storm, What Thunder.  

It is impossible however, to talk about the earthquake, why it had the impact on Haiti that it did, why the aid produced so little long-term change, and how the world viewed Haiti in the aftermath of its worst tragedy, without also talking about the stories forever told about Haiti, stories told ever since it became the first Black republic in the Western hemisphere, a successful revolution led by slaves that sent shudders through the slave-holding nations of the world, from America to France. What are these stories about Haiti, the stories of it as a “cursed nation,” what do these stories tell about the storytellers? What lesser known stories, what true histories, do these stories hide or erase? And how are stories by Haitians themselves, particularly by Haitian women, revolutionary tools?

For the bonus audio archive Myriam Chancy alternates between reading from Jamaica Kincaid’s A Small Place and talking about its importance for us. It is immediately apparent, even if she hadn’t mentioned it at the onset, that she teaches this text, that she knows it well. She alternates between reading passages and then extended commentary and then returns to the reading and comments again, commenting on what it illuminates not just about Antigua but about Haiti, and not just about what she loves about Kincaid’s writing but how it has influenced her own writing in her most recent novel. This is one that I think warrants multiple listens. To find out more about how to subscribe to the bonus audio and the other potential benefits of becoming a listener-supporter of the show head over to the Between the Covers Patreon page.

The post Myriam J. A. Chancy : What Storm, What Thunder appeared first on Tin House.

“Negotiating the Love and Renouncing the Rest,” today’s Tin House Live conversation between poets Destiny O. Birdsong & Donika Kelly, was recorded at the 2021 Tin House Summer Writers Workshop. Among many other things, they ask what it would mean to center yourself in your own work, in your own story. How would that look, and what would need to be decentered to make that happen on the page? They also talk about writing (or not writing) into and about abuse and trauma, about families of origin and chosen families, and much more.

Destiny O. Birdsong is a poet, novelist, and essayist whose debut poetry collection, Negotiations, was published in 2020 by Tin House and longlisted for the 2021 PEN/Voelcker Award. Elizabeth Acevedo said of Birdsong’s collection: “Reading Negotiations is like walking into a boxing match with an indefatigable fighter; you will be struck, and it will hurt. But for all of its ferocity in how it grapples with womanhood, sexuality, assault, and race, this collection is also full of wonder. Of forgiveness. Of tenderness, the like of which, ultimately, delivers the most powerful sucker punch.” Destiny Birdsong’s debut novel, Nobody’s Magic, is forthcoming in February 2022 from Grand Central Publishing.

Donika Kelly is the author of  Bestiary from Graywolf, winner of the Cave Canem Poetry Prize, a Hurston/Wright Legacy Award for Poetry, and the Kate Tufts Discovery Award. The collection was also longlisted for the National Book Award, and was a finalist for a Publishing Triangle Award and a Lambda Literary Award. And she is the author of the poetry collection The Renunciations, out this year from Graywolf. A collection poet Ellen Bass describes as follows: “In her vital new poetry collection, Donika Kelly harnesses ‘the air, the earth, and flame’ to renounce the old gods: child abuse, violence, racial injustice, generational trauma. . . . The Renunciations is a work of stunning power, alive with haunting images, complex metaphor. And while Kelly looks unsparingly at pain and suffering—her own and others’—with transformation comes joy.”

If you enjoy today’s conversation consider becoming a supporter of Between the Covers. Check out all the potential benefits and rewards of doing so at the Between the Covers Patreon page.

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Irish theologian, storyteller, poet, conflict mediator, and host of the podcast Poetry Unbound Pádraig Ó Tuama joins David to discuss the role of both narrative storytelling and poetry in relationship to encountering ‘the other.’ How can the stories we tell about ourselves prevent us from seeing who we are, from being open to accountability and change, open to encounter and transformation? How can certain stories, in contrast, be a means to bring people with deep grievances to the table, to move them toward recognition and repair? How does poetry, like prayer, orient us toward something beyond ourselves, beyond our meaning-making capacities, and how is that sort of encounter, with all that lies beyond our understanding, important to a human life? If you’ve ever asked some version of the eternal question—do poems and stories and art-making matter? If so, what do they do?—don’t miss today’s episode.

For the bonus audio archive Pádraig Ó Tuama reads some new poems, written as part of a collaborative project with some Scottish writers. He reads in both English and Irish. This joins bonus audio from many other writers including Doireann Ní Ghríofa, Alice Oswald, Layli Long Soldier, Jorie Graham, Nikky Finney, Richard Powers, and more. To learn about subscribing to the bonus audio and the other potential benefits of becoming a listener-supporter of the show head over to the Between the Covers Patreon Page.

The post Pádraig Ó Tuama : In the Shelter & Borders and Belonging appeared first on Tin House.

The latest book by Palestinian novelist Adania Shibli, Minor Detail, was a finalist for the National Book Award for Translated Literature, and longlisted for the International Booker Prize. Shibli talks about what it means that she doesn’t write about Palestine but rather from Palestine. And why for her, as a writer, so many of the questions of colonization, dehumanization, and ethnonationalism come down to questions of language. What types of sentences are created by the victors versus the vanquished? What shapes do the stories of each take? What happens to a language that can be only spoken in whispers? How do these two different approaches to language change one’s relationship to history, to memory? How can language’s failure, the absence of language, silence, even weakness, be brought into language and used against the dictatorship of a seamless, linear narrative?

If you enjoy today’s conversation consider become a listener-supporter of Between the Covers. There are all sorts of benefits to doing so. Check out the possibilities at the Between the Covers Patreon Page.

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Originally delivered at the 2021 Tin House Summer Writers Workshop, Mattilda Bernstein Sycamore’s electrifying talk “Writing On Your Own Terms” explores what it means to write against the canonical imperative, to write against the world as it is, to instead write on your own terms, toward community, and specifically toward the community of people who might truly appreciate and understand your work.

Sycamore is the author and editor of many books and anthologies. Most recently she is the editor of Between Certain Death and a Possible Future: Queer Writing on Growing Up with the AIDS Crisis (forthcoming in October 2021) and the author of the 2021 PEN/Jean Stein Book Award finalist, The Freezer Door. Wayne Koestenbaum’s assessment of The Freezer Door seems particularly relevant to the theme of writing on one’s own terms: “Mattilda Bernstein Sycamore puts sex and gender, suffering and gentrification, encounter and solitude, at the center of a book that defies borders and uses language to dive directly into mystery. I admire Sycamore’s gossamer refusal ever to land anywhere definitive; the sentences travel further and further into trauma’s backyard, where complex ideas find a habitat among the simplest formulations. Sycamore, by breathing into the prose, treats the act of book-building as a practice strange and organic as sleeping, walking, bathing, eating. The Freezer Door delves into the philosophy of the sexual meetingplace with a virtually unprecedented aplomb.”

Mattilda Bernstein Sycamore first appeared on the show for a deep dive into her last novel Sketchtasy. So if you are hungry for more Sycamore after this talk, as I’m confident you will be, this is a great place to go next. If you appreciate the show, consider becoming a supporter of Between the Covers. Check out the benefits and rewards of doing so at the Between the Covers Patreon page.

 

 

 

 

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Today’s guest, poet Kaveh Akbar, discusses his latest poetry collection Pilgrim Bell. Given that Akbar once suggested that syntax was identity, how do the changes in Akbar’s own poetry, from his first collection to now, reflect changes in himself as a person? Akbar talks about the ways in which poetry can be a spiritual technology, about the qualities poetry and prayer share, about the language and gesture of prayer, about the orbital nature of poetry, and about making room for silence and the unsayable in one’s poems.  Akbar also talks about revolutionary poetics. What would a revolutionary poetics look like? Who are good examples of poets whose poems and lives do real work in the world? How do we know if our poems are doing work or just fooling us into thinking so?

For the bonus audio archive, Kaveh Akbar adds a reading and discussion of  “In Praise of the Laughing Worm,” a poem that, although he loves it, didn’t quite fit in the collection. This joins bonus audio from Jorie Graham, Alice Oswald, Nikky Finney, Douglas Kearney, Arthur Sze, Layli Long Soldier, Natalie Diaz, and many others. To find out how to subscribe to the bonus audio and about the many other potential benefits of becoming a listener-supporter of the show, including books and rare collectibles donated by past guests, head over to the Between the Covers Patreon page.

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Callum Angus’s A Natural History of Transition is described as a collection of short stories “that disrupts the notion that trans people can only have one transformation.” Angus talks about trans narratives, both the ones most commonly seen in the culture at large, and his notion of transness, not as a journey between two static gender poles, by a person “trapped in the wrong body,” but one of continual adaptation, reevaluation, and renewal. Callum Angus is particularly interested in the intersections between trans writing and nature writing. As the editorial statement for the journal he founded, smoke and mold, says: “The trans body is considered ‘unnatural,’ its changes supposedly go ‘against nature,’ with few in mainstream literature, medicine, or history acknowledging that nature is nothing but change.”

We talk about why he chose to write fiction versus nonfiction, and chose fantastical fiction over realism, as the best way for him to explore transition in his protagonists and transition in the world at large. What does a story collection look like written by an author who isn’t trying to “tell a good story” but rather resist it? An author who thinks there is much power for ill in linear narratives and too-powerful stories? What possibilities open up for the short story form, for nature writing, for our understanding of the human within the larger natural world, when looked at through a trans lens?

We talk about many other writers in this conversation, from Rikki Ducornet to Mattilda Bernstein Sycamore, Reinaldo Arenas to John Keene. Keene’s Counternarratives was a particular inspiration for Angus’s new book and for the bonus audio archive Angus reads the short story “Mannahatta” for us. This joins bonus readings from John Keene himself, CAConrad, Garth Greenwell, Carmen Maria Machado, and many others. To find out how to subscribe to the bonus material and to check out the many other potential benefits of transforming yourself from a listener to a listener-supporter head over to the Between the Covers Patreon page.

The post Callum Angus : A Natural History of Transition appeared first on Tin House.

Today’s episode with poet Douglas Kearney is about his latest book of poetry, Sho, and the poetry-performance album (with Haitian sound artist Val Jeanty) Fodder. Throughout Kearney’s career he has engaged with the tension between the stage and the page, the eye and the ear, the word and the body, all as a means to explore the contradictions of being Black in America. What does it mean to make the page into a stage, or to make the stage into a compositional space? How does Kearney critique the way anti-Black violence is made into spectacle, while himself being a Black performer who uses spectacle? What does a poetics that works against catharsis, against relief, entail and to what end? Why is Kearney skeeved out by simile and why does he find violence within metaphor? These questions only scratch the surface of a wide-ranging conversation that travels from Susan Howe to Public Enemy.

For the bonus audio archive, Kearney adds the reading of two new poems. These join readings by Ross Gay, Teju Cole, Nikky Finney, Jorie Graham, Layli Long Soldier, Arthur Sze, and many others. To learn more about how to subscribe to the bonus audio and to check out the many other potential benefits of becoming a listener-supporter of Between the Covers, head over to the Between the Covers Patreon page.

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Arthur Sze, winner of the 2019 National Book Award in Poetry for Sight Lines, joins David Naimon to discuss his latest book, The Glass Constellation: New and Collected Poems. Together they step back to take in a half century of Arthur’s work, not only how it has changed and why, tracking the growth of a poet and person across time, but also what animating questions, despite all the changes, have endured. They also step forward and look closely at questions of selfhood in relationship to poetry, how one decenters the controlling self when writing (and to what end), the place of the human in the more-than-human world, the relationship of the image to the word,  and what it means to aim to write as if there is no hierarchy between any one word and another. Arthur also talks about the role of divination, particularly the I Ching, in the crafting of some of his poems, and his engagement with everything from quantum physics to Native American cultures and languages (as professor emeritus at the Institute of American Indian Arts his students included Layli Long Soldier, Sherwin Bitsui, Orlando White, Santee Frazier, and dg nanouk okpik, among many others), as part of his poetry and poetics.

When Arthur has felt the need to grow as a poet, to break out of well-worn patterns of writing, but hasn’t known how or in what way to do so, he has often turned to translation as a way to move his writing into a new phase. In the main conversation we discuss the four different periods of translation for him over the past fifty years, the Chinese poetry he chose to translate in each era to help move his poetry forward. For the bonus audio archive Arthur introduces us to and reads some of the translations themselves, translations of poets from the Tang Dynasty, Chinese modernist poetry, and poems by contemporary Chinese poets. I encourage you to listen to the bonus audio after hearing our conversation as you’ll then really be able to track Arthur’s own development as a poet while listening to the poetry of others, both translated and read by him. To find out how to subscribe to the bonus audio and the other many potential benefits of becoming a listener-supporter of the show head over to the Between the Covers Patreon Page.

The post Arthur Sze : The Glass Constellation : New & Collected Poems appeared first on Tin House.

Today’s guest, Irish Canadian writer Anakana Schofield, joins us to talk about her latest novel, Bina, winner of the Kerry Group Irish Novel of the Year. Bina was also shortlisted for the 2020 Goldsmith Prize, awarded to fiction that pushes the boundaries of form (in the spirit of  Walter Benjamin who said “All great works of literature either dissolve a genre or invent one”). We talk about form as content, form as momentum (as a way to move story forward instead of plot), and form that both creates and reveals character. We also talk about Bina the protagonist, about the invisibility of older women, about social class in relation to storytelling, about centering people in one’s writing who have been shunted aside due to age, economic status, or gender. We talk about the declining value of the imagination in North American letters, how writers shouldn’t be asked to verify what is true in their imaginative works, and why women writers are often asked to uncover the “real” and confessional within their novels, far more than their male counterparts. All that said, this conversation begins with a discussion of humor and is full of anecdote, digression, and laughter throughout. I hope you’ll join us.

If you enjoy today’s conversation consider becoming a supporter of Between the Covers. To check out the possible benefits and rewards of doing so (from rare collectibles from writers like Ursula K. Le Guin and Nikky Finney, to becoming a Tin House Early Reader, receiving twelve books over the course of the year months before the general public, to getting resource-rich emails with each episode that point you to further things to explore after the conversation, provide links to things referenced within it, and where David shares the most remarkable finds he used to prepare for it) head over to the Between the Covers Patreon page.

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Irish poet Doireann Ní Ghríofa joins us to talk about her latest poetry collection, To Star the Dark, and her prose debut, A Ghost in the Throat, a debut that has captured the imaginations (and all the awards) in Ireland and the UK and is just out now in North America. A Ghost in the Throat is wonderfully hard to categorize: a memoir, a work of historical fiction, an autofiction, a translation, a book about translation, a book about poetry, a book that is poetry. It is all of these things and yet reads less like a work of avant-garde literary experiment and more like a detective or adventure story, an act of literary archaeology, a love letter, and a reclamation against the erasure of women’s lives and women’s art.

We talk about the erasure of women, the erasure of motherhood in literature, the erasure of Irish language, Irish culture and the Irish social order under British colonization, and how she conjured the largely erased life of Eibhlín Dubh Ní Chonaill (who wrote the Caoineadh Airt Uí Laoghaire, one of the great laments of keens in Irish literature) in the face of such absence and silence. We also talk about translating the Caoineadh Airt Uí Laoghaire and about self-translation (of Doireann’s own Irish language poetry into English), about oral poetic traditions carried down from one woman’s body to another versus text-based poetry fixed to the page. All this and much more.

For the bonus audio archive Doireann reads two contemporary poems she loves. “A Spider” by the Irish poet Colette Bryce and “Broom” by the American poet Deborah Digges. To learn more about how to subscribe to the bonus audio and about the many other potential benefits of becoming a listener-supporter of Between the Covers head over to the Between the Covers Patreon Page.

 

The post Doireann Ní Ghríofa : A Ghost in the Throat & To Star the Dark appeared first on Tin House.

Today’s guest, Moroccan writer and filmmaker Abdellah Taïa discusses his most recent novel A Country For Dying translated by Emma Ramadan and winner of the 2021 PEN Translation Award. We talk about voice in relation to self, story in relation to truth, writing in one’s second language, particularly a language imposed by colonization, about making that tongue bend to one’s reality, about being both Muslim and gay (as well as being the first openly homosexual Arab writer from Morocco), about why it is important not to write characters who are good, or only so, about Isabelle Adjani, the Zulawski film Possession, the role of possession and djinns in his work, and about creating a literature that does not itself come from literature, that does not come from books or speak to them.

A great complement to today’s conversation with Abdellah is the hour-long conversation with his translator Emma Ramadan which joins the Between the Covers bonus audio archive. Emma talks about what attracts her to Abdellah’s writing, about the resonances she sees between his work and that of Marguerite Duras, about the challenges of bringing his work into English, about translating explicit sex scenes, gender pronouns and gendered words, about sexism in the translation industry, about the benefits of co-translation, and about the relationship of translation to the body. To find out how to subscribe to the bonus audio and the many other potential benefits of becoming a listener-supporter of the show head over to the Between the Covers Patreon Page.

 

The post Abdellah Taïa : A Country For Dying appeared first on Tin House.

Today’s episode of Between the Covers is with writer Elissa Washuta about White Magic, her new memoir in essays just out from Tin House. Elissa Washuta’s body of work, and White Magic is no exception, is deeply engaged with form, particularly in relationship to the telling of our own true stories. How do we find the right form to tell our stories? How much can we shape what we lived (into story, into narrative) and have it still remain true? What can we learn about our voices, our selves, from adopting the form of another? What are some ways to create new forms when none are sufficient to carry what we’ve experienced? This is the magic of White Magic, witnessing Elissa Washuta wield form like a spell, like a magic trick, like an act of divination, to conjure her voice and bring her story into words on the page the way she wants it, on its own terms. As Stephen Graham Jones says “White magic, red magic, Stevie Nicks magic—this is Elissa Washuta magic, which is a spell carved from a life, written in blood, and sealed in an honesty I can hardly fathom.”

For the bonus audio archive Elissa Washuta reads from the draft of an essay-in-progress called “Apocalypse Pathology.” This joins a wealth of bonus material from Carmen Maria Machado, Ted Chiang, Layli Long Soldier, Morgan Parker, Tommy Pico, Teju Cole, N. K. Jemisin, and many others. To learn how to subscribe to the bonus audio, and to check out the many other potential benefits of becoming a listener-supporter of the show head over to the Between the Covers Patreon page.

 

 

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Writer, poet, and painter Rikki Ducornet returns to Between the Covers to discuss her latest novel Trafik which is her first foray into science fiction. Ducornet’s body of work—surrealist, alchemical, gnostic, metamorphic—is sparked by the wonder and mystery of dreams, as well as by the shared company of the non-human other, the eels and butterflies and orcas and jaguars we share the earth with. What does it mean for such a writer to leave earth behind?  To imagine herself into a post-earth (post-home), post-human (post-body) world where everything we know is of our own creation? We talk about the real and the virtual, language as generative magic and language as weapon. We discuss surrealism (where if you open the International Encyclopedia of Surrealism you’ll find Rikki between Marcel Duchamp and Max Ernst) and the little acknowledged but vital ecological strain within it, one that challenges the anthropocentric view of the world, transgresses species classifications, and troubles notions of individual identity as well.

For the bonus audio archive Rikki reads some of her poems for us. To find out how to subscribe to the bonus audio archive, or how to get a signed giclée reproduction of one of Rikki’s illustrations from the 1983 edition of Jorge Luis Borges’ Tlön, Uqbar, Orbis Tertius, or to check out the many other potential benefits of becoming a listener-supporter head over to the Between the Covers Patreon Page.

The post Rikki Ducornet : Trafik appeared first on Tin House.

Today’s guest is poet Jorie Graham. We speak about her fifteenth book of poetry, Runaway. This latest book, along with the three that precede it—Sea Change, Place, and Fast—confronts our accelerating trajectory toward climate disaster. But as Lidija Haas says for Harper’s Magazine, Graham “in her poems remakes a world you can inhabit, one in which you can sense what it is you’re letting go of, now, before it’s gone.” We talk about what it means to engage with deep time as a poet, about (dis)embodiment, about soul-making, about finding collectivity through the sensorial and subjective, about apprenticeship and lineage, the line and the sentence, and much more.

For the bonus audio archive Jorie discusses the many manifestations of rain, and then reads two rain poems, one by Edward Thomas, the other by Robert Creeley. To find out about how to subscribe to the bonus audio, among the other potential benefits and rewards of becoming a listener-supporter of the show, head over to the Between the Covers Patreon Page.

The post Jorie Graham : Runaway appeared first on Tin House.

Today’s Between the Covers conversation with Brandon Hobson is about his novel The Removed, his first book since his National Book Award finalist, Where the Dead Sit Talking. The Removed places us with the Echota family fifteen years after the death of their son Ray-Ray at the hands of the police, and in the long shadow of the forced removal of the Cherokee from their ancestral lands to modern-day Oklahoma where the book takes place.

We talk about writing into the silence surrounding police killings of Native people, writing against stereotype, against the expectations of the non-Native imagination, about the foster care system and its legacy in Native communities, and also about questions of form and language. Brandon talks about the influence Diane Williams has had on him on the sentence level. And if you are looking for a deep dive into syntax and the sentence, there is probably no better episode to go to after this than her past appearance on the show.

For the bonus audio archive Brandon Hobson reads from “The Man Came to Visit Us,” the lead story in the latest issue of Noon, Diane Williams’ magazine, where Brandon frequently appears. To learn more about how to subscribe to the bonus audio and the other potential benefits of becoming a listener-supporter, from joining our collective brainstorm which is shaping who we invite as guests going forward, to receiving resource-rich emails with each episode, to collectibles from your favorite writers, to becoming an Early Tin House Reader, receiving twelve books over the course of the year months before the general public, head over to the Between the Covers Patreon page.

 

The post Brandon Hobson : The Removed appeared first on Tin House.

Today’s guest, Viet Thanh Nguyen, returns to Between the Covers after six years to discuss The Committed, his much-anticipated follow-up to the Pulitzer Prize–winning novel The Sympathizer. The second book in this trilogy finds our protagonist in the French Vietnamese community of Paris in the 1980s. We talk about the differences between France and the United States with regards to race and racism, communism, socialism, and revolution, and how that shapes the discourse within the Vietnamese communities in each country. We talk about the history of the term Asian American in this context, about ethical memory and what it requires of an individual and a community, about being a refugee versus an immigrant, about Francophone postcolonial and revolutionary thought—from Frantz Fanon to Jean-Paul Sartre to Hélène Cixous to Aimé Césaire—and much more.

You can listen to our first conversation from 2015 here.

For the bonus audio archive Viet talks about the importance of the work of Edward P. Jones and Maxine Hong Kingston for him as a writer, and reads excerpts from each of them to demonstrate why they are influential upon his work. To learn more about how to subscribe to the bonus audio and to look through the other potential rewards and gifts and content available to listener-supporters head over to the Between the Covers Patreon Page.

The post Viet Thanh Nguyen : The Committed appeared first on Tin House.

Today’s Between the Covers conversation is with the poet Ross Gay about Be Holding, his book-length poem that emerges from a sustained meditation on a mere few seconds of the basketball career of Julius Erving (aka Dr. J). Be Holding is a finalist for this year’s PEN/Jean Stein Book Award, given to a work “which has broken new ground by reshaping the boundaries of its form and signaling strong potential for lasting influence.” (This year’s judges are Vievee Francis, Fred Moten, and Tommy Orange).

Whether you love basketball or break out in hives at the mention of sports, do watch the video of Dr. J’s move,  a move that is akin as much to dance or song or even poetry, as it is to athletics.

How is joy inseparable from death? Flight connected to entanglement? Looking to growing? Dr. J to mushrooms and trees, fathers and gardens, birds and cameras? What can we learn about the act of looking, the act of beholding, when it comes to the making of art, to the writing of poems? Join us to find out all of this and much more.

For the bonus audio archive Ross Gay reads a poem by Jean Valentine and talks to us about her. To find out more about how to subscribe to the bonus audio and to explore the wealth of potential gifts and rewards and benefits of becoming a listener-supporter of Between the Covers head over to the show’s Patreon page here.

The post Ross Gay : Be Holding appeared first on Tin House.

Today’s guest is writer, photographer, critic, and curator Teju Cole. In this extended conversation, we use Cole’s latest photo book Fernweh as a lens through which to look at his entire career, from his novels to his essay collection, from his collaborative work of image-text to the curation of his Spotify playlists. “Who is a stranger? Who is kin? What do we owe each other? What, in the inferno, is not infernal?” he asks at the beginning of Human Archipelago.  We explore how these questions echo through his work, and look carefully at the nature of looking itself, and the ethics of how we look and what we show.  

Teju Cole has added a remarkable three-part reading to the Between the Covers bonus audio archive, one where each of the three texts chosen is in conversation with the others. He begins by reading from John Berger’s The Shape of a Pocket, then from poet Etel Adnan speaking on prehistoric cave paintings and painters, and finally he gives us a glimpse from his forthcoming essay collection Black Paper, reading a piece addressed to John Berger himself. You can find out more about the bonus audio archive and the many other potential benefits of becoming a listener-supporter of the show at the Between the Covers Patreon page.

The post Teju Cole : Fernweh appeared first on Tin House.

Today’s episode is with one of today’s great writers of science fiction and fantasy, Nnedi Okorafor. Using her new novella Remote Control (Tor Books) as a lens and a frame, we discuss the difference between Afrofuturism and Africanfuturism, questions of hybrid identity and home within her stories, her use of Nigerian, Namibian, and Ghanian cosmologies to build worlds, how she harnesses anger as a fuel and fear as a creative beacon, her pivotal phone call with Octavia Butler, and why LeVar Burton thinks she should be on any team assembled for first contact with an alien species.

As an aside, Nnedi Okorafor, after winning the World Fantasy Award for Who Fears Death, was involved in the successful push to have H.P. Lovecraft removed as the likeness of the statuette. We only touch on this briefly but one could assemble a nice thread of past Between the Covers conversations that either explicitly or implicitly engage with Lovecraft and his legacy. In reverse chronological order the episodes that come to mind are with: N.K. Jemisin, Daniel José Older,  Jeff Vandermeer and China Miéville.

If you enjoy today’s program and want to learn about the potential benefits and rewards of becoming a listener-supporter (from Ursula K. Le Guin collectibles to craft talks by Marlon James) you can find out more at the Between the Covers Patreon page.

 

The post Nnedi Okorafor : Remote Control appeared first on Tin House.

Vanessa Veselka returns to Between the Covers, eight years after her first appearance, to discuss her new novel The Great Offshore Grounds. Longlisted for this year’s National Book Award in Fiction, Roxane Gay calls The Great Offshore Grounds epic, original, and “utterly engrossing.” Lidia Yuknavitch adds: “This novel is thrilling in its content, daring in heart, and makes a helix between a novel of ideas and the best damn story of women who forge their identities on their own terms that I’ve read in years.” 

You can listen to Vanessa’s first appearance on Between the Covers for her PEN/Robert W. Bingham prize-winning debut Zazen here. In the fall of 2021, Zazen will be reissued by Vintage for its 10th anniversary.

For the bonus audio archive Vanessa, a musician for several decades before becoming a writer, performs a song. Learn more about the bonus audio archive and the other potential benefits and rewards of becoming a listener-supporter at: patreon.com/betweenthecovers

The post Vanessa Veselka : The Great Offshore Grounds appeared first on Tin House.

This Tin House Live conversation between Leni Zumas and Janice Lee, “Publishing, Power Structures, and Creative Practice,” was recorded at the summer 2020 Tin House Writers Workshop.

Leni Zumas is the author most recently of the novel Red Clocks, a New York Times Book Review Editors’ Choice and winner of the Oregon Book Award for Fiction. She is also the author of Farewell Navigator: Stories (Open City) and The Listeners (Tin House). Leni has appeared on Between the Covers twice previously. Her first appearance was also the show’s first discussion of hybrid and/or genre-indeterminate writing and the only episode that interviews a collaborative pair, Leni Zumas (writer) and Luca Dipierro (artist), about their work A Wooden Leg: A Novel in 64 Cards. Leni returned to the program more recently to discuss Red Clocks.

Janice Lee is the founder and executive editor of Entropy, contributing editor at Fanzine, co-founder of The Accomplices, and co-publisher of the press Civil Coping Mechanisms. She is also the author of seven books of fiction, nonfiction, and poetry, including The Sky Isn’t Blue, Reconsolidation, and Damnation, a book-length meditation on the films of Hungarian director Béla Tarr. Her latest novel, Imagine A Death, whose publishing journey they discuss in today’s episode, a novel about inherited trauma, the apocalypse, and interspecies communication, will be published in 2021 by Texas Review Press.

Leni Zumas and Janice Lee both teach in the MFA program at Portland State University. At the beginning of this conversation they reference, and Janice reads from, her 2019 essay “Books Are Not Products, They Are Bridges: Challenging Linear Ideas of Success in Literary Publishing.”

To learn more about the benefits and the potential rewards of becoming a listener-supporter of Between the Covers visit the show’s Patreon page.

The post Tin House Live : Publishing, Power Structures & Creative Practice with Leni Zumas & Janice Lee appeared first on Tin House.

Today’s episode of Between the Covers is a first for the show, a return to and extension of a recent episode with Natalie Diaz.  Today’s ‘part two’ does not entirely depend upon part one, but it does refer back to it with frequency.  So if you would like to get the fullest experience begin here.

In both episodes we take each of the three individual words in Natalie’s most recent National Book Award–shortlisted poetry collection Postcolonial Love Poem and look at Natalie’s work through the lens of each.  Today we focus on the word ‘poem’ and look at poetic lineage, writing poetry under occupation, the oral vs. the written, the use of repetition, the role of time, and what writing ‘in the wake’ and under the influence of water might mean.

The post Natalie Diaz : Postcolonial Love Poem : Part Two appeared first on Tin House.

Today’s episode of Between the Covers is a conversation with poet and classicist Alice Oswald. Widely considered one of our great living poets, Oswald is the 46th professor of poetry at the University of Oxford, and the first woman to hold the poetry chair in its over three centuries of existence. Perhaps best known for Memorial, her radical revocalizing of the Iliad, Oswald speaks today of her latest book, Nobody, another engagement with and reimagining of Homer, this time the Odyssey. Originally conceived in collaboration with the abstract watercolorist William Tillyer, Nobody is a book deeply informed by the sea. We talk about Oswald’s lifelong engagement with water in her work, the relationship between water and the mind, the Homeric way of seeing the world, and what makes a poem come alive.

For the bonus audio archive Alice reads two things: 1) a sampling of some of the impossible-to-answer questions asked by God in the Book of Job and 2) a short ballad she wrote called Emerald as another partial response to a question Anne Carson asks her in the main interview. Find out how to subscribe to the bonus audio archive and about the other potential benefits and rewards of becoming a listener-supporter of the show at: Patreon.com/betweenthecovers

The post Alice Oswald : Nobody appeared first on Tin House.

Join poet-essayists Hanif Abdurraqib & Shayla Lawson for an extended conversation on writing pop culture (and so much more).  This conversation was recorded at the 2020 Tin House Writers Workshop.  Shayla’s most recent book is This is Major: Notes on Diana Ross, Dark Girls and Being Dope & Hanif’s next book is A Little Devil in America: Notes in Praise of Black Performance.

Don’t miss Hanif’s first appearance on Between the Covers as well, for his most recent poetry collection from Tin House Books, A Fortune for your Disaster, a great follow-up to today’s episode.

The post Tin House Live : Writing Pop Culture with Shayla Lawson & Hanif Abdurraqib appeared first on Tin House.

“Amid impending disasters too vast even to be perceived, what can we do―cognitively, morally, and practically? Gabbert, a tenacious researcher and a ruthless self-examiner, probes this ultimate abstraction in her essays, goes past wordless dread and comes up with enough reasoned consideration to lead us through. Do you feel―and how can you not―as if your emotional endurance is exhausted by horrors already well underway? Then you should read this book.” ―Sarah Manguso

The post Elisa Gabbert : The Unreality of Memory appeared first on Tin House.

“An urgent, intimate hybrid of memoir and fiction, Homeland Elegies lays bare the broken heart of our American dream turned reality TV nightmare. The book . . . brilliantly captures how we got to this exact moment in time and at what cost. Stunning.” —A. M. Homes

“An unflinchingly honest self-portrait by a brilliant Muslim-American writer, and, beyond that, an unsparing examination of both sides of that fraught hyphenated reality. Passionate, disturbing, unputdownable.” —Salman Rushdie

The post Ayad Akhtar : Homeland Elegies appeared first on Tin House.

Today’s conversation is with poet Natalie Diaz, author of the National Book Award shortlisted collection Postcolonial Love Poem.  We talk today about questions of postcoloniality, about love and postcolonial love, about writing poetry under occupation, the fine line between participation and complicity, about empathy and what cannot be translated and about the sensuality that arises from what can’t be known of another.

For the bonus audio archive Natalie talks about and reads from Jorge Luis Borges’ Book of Imaginary Beings.  To find out how to subscribe to the bonus audio archive and the other rewards and benefits of becoming a listener-supporter of Between the Covers head over to:  patreon.com/betweenthecovers

 

The post Natalie Diaz : Postcolonial Love Poem : Part One appeared first on Tin House.

In “Getting Past the Gatekeepers: How to Keep Writing in an Industry that Excludes Us,” Kaitlyn Greenidge and Mira Jacob discuss their combined 30+ years of experience navigating literary publishing. From the first feedback to the final copyedits, they discuss strategies to stay sane and keep writing when your story doesn’t fit the industry’s narrow bookshelf.

The post Tin House Live : Getting Past the Gatekeepers with Mira Jacob & Kaitlyn Greenidge appeared first on Tin House.

“This collection of essays, memoirs and critical pieces forms an intellectual biography of Europe’s most history-obsessed writer. Beginning with her childhood in East Berlin in the early ’60s and ’70s, the book moves in concentric circles, from the intimate and understatedly moving to the moment History collides with her life. A powerful voice singing the past into the present’s melody.” —John Freeman, Lit Hub

The post Jenny Erpenbeck : Not a Novel : A Memoir in Pieces appeared first on Tin House.

“In The Fish & The Dove, Mary-Kim Arnold’s lyrical scope sweeps across intersecting terrains, moving through time to capture the history of occupation and legacy war in Korea, through the delicate tethers between biological mother, adoptive mother, motherland and daughter, and through the permeable membranes which exist between person and place. . . . With this fiercely tender offering, she lays bare multiple wars: ones between countries, in memory, within a family, as well as the ones between women and men. . . . ʻ[T]ime is a robe stitched through with ash’ that Arnold keeps ʻtrying to shake off.’ And it is an astonishing sight to behold.” —Diana Khoi Nguyen

 

The post Mary-Kim Arnold : The Fish & The Dove appeared first on Tin House.

A conversation between Brandon Taylor & Garth Greenwell about queer aesthetics, “problematic art,” representation, and much more.

The post Tin House Live : Queer Beatitudes with Brandon Taylor & Garth Greenwell appeared first on Tin House.

“It’s hard to overstate the importance of this gorgeous, harrowing, heartbreaking book, which tackles sexual violence and its aftermath while also articulating the singular pain of knowing—or loving, or caring for, or having a history with—one’s rapist. Vanasco is whip-smart and tender, open and ruthless; she is the perfect guide through the minefield of her trauma, and ours.” —Carmen Maria Machado

“I wish everyone in this country would read it.” —Melissa Febos

The post Jeannie Vanasco : Things We Didn’t Talk About When I Was a Girl appeared first on Tin House.

“Anatomy of Melancholy” is a conversation between Melissa Febos & Bassey Ikpi at the 2020 Tin House Summer Writers Workshop.  Febos & Ikpi talk about making narrative (and aesthetic) sense out of the darkest parts of one’s past.

Bassey Ikpi is the New York Times bestselling author of I’m Telling the Truth But I’m Lying and founder of The Siwe Project, a worldwide non-profit dedicated to promoting mental health awareness throughout the global black community.

Melissa Febos is the author of the critically acclaimed memoir Whip Smart, the beloved essay collection Abandon Me (for which she first appeared on Between the Covers), and her upcoming second essay collection Girlhood. She teaches in the Nonfiction Writing Program at the University of Iowa.

The post Tin House Live : Bassey Ikpi & Melissa Febos on the Anatomy of Melancholy appeared first on Tin House.

“In Lauren Camp’s Took House we are enveloped in a poetry both precise and mysterious, intimate and sublime. Reading through these poems, I was reminded of the tenet that poetry is not like the interior life, but is the interior life, the thing itself made flesh via language. . . . Here is a poet articulating her human existence . . . here is a particular heart and mind removing its shield in order to commune, to help us see the world again, more deeply and more strangely, and reader, I am grateful.” —Allison Benis White

The post Lauren Camp : Took House appeared first on Tin House.

“Sacco is a talent entirely unto himself, applying an exquisitely fine eye for detail to the urgent histories that define the world around us. . . . Now, Sacco brings that eye to the lives of the Dene people in the Canadian subarctic, getting the full picture as only he can.” —Jonny Diamond, Literary Hub

“A tour de force . . . luminous . . . What begins as an exploration of the effects of fracking on Native lands sprawls into a haunted history of an entire civilization.” —Ed Park, The New York Times Book Review

The post Joe Sacco : Paying the Land appeared first on Tin House.

“Verge is a bouquet of dynamite: explosive, deadly, and spectacularly beautiful. These stories captivated me like modern fairy tales, and like those dark lessons they showed me how resilience is forged through survival, beauty through brokenness, joy by fire. The women who occupy them are my favorite kinds of heroines: as flawed as they are furious, as bold as they are tender. I won’t soon forget them.” —Melissa Febos

The post Lidia Yuknavitch : Verge appeared first on Tin House.

Today’s talk, “On Likability” by Lacy M. Johnson, was given at the 2018 Tin House Writers Workshop. It later became an essay, one selected by Rebecca Solnit for The Best American Essays 2019.

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“Shrapnel Maps is so beautiful. Half dream, half nightmare, all real. Filled with the remnants of what people hope for and what they are willing to do, and everything that remains afterwards. It’s a confrontation to identity and it dares to conjugate love as a defiance to the capacity of violence. Extraordinary. . . . elegant and devastating and compelling and complex.” —Pádraig Ó Tuama, poet, theologian, and conflict mediator

The post Philip Metres : Shrapnel Maps appeared first on Tin House.

Lidia Yuknavitch gave this craft talk, “Writing from the Deep Cut,” at the 2018 Tin House Writers Workshop. As Lidia says: “We are (always) living in tumultuous times. The despair and trauma fracture our life narratives daily, culturally and personally. And yet we endure, make love, make art, we keep creating. There is so much to learn from the edge of things, from the cracks and cuts and fissures of the earth, of our hearts. What can writing become? What new narrative strategies are emerging? How might we become and story ourselves differently? How might more bodies and stories and voices emerge as the old mono stories break apart? Storytelling is a site of resistance and generative possibility, in all times.”

The post Tin House Live : Lidia Yuknavitch on “Writing from the Deep Cut” appeared first on Tin House.

“The City We Became is a wonderfully inventive love letter to New York City that spans the multiverse. A big middle finger to Lovecraft with a lot of heart, creativity, smarts and humor. A timely and audacious allegorical tale for our times. This book is all these things and more.” —Rebecca Roanhorse

“The most important speculative writer of her generation . . . She’s that good.” —John Scalzi

 

 

 

The post N.K. Jemisin : The City We Became appeared first on Tin House.

“Love Child’s Hotbed of Occasional Poetry is a 21st-century paean to the sterling love songs humming throughout four hundred years of black American life.” —Lit Hub

“Her poems elide the generational and the personal with ample music. They are, therefore, more than taut with vital details; they are alive with nuance and contrast, where doom is rightfully proximate to creation and grace.” —Sewanee Review

The post Nikky Finney : Love Child’s Hotbed of Occasional Poetry appeared first on Tin House.

Given at the 2019 Tin House Summer Workshop, Rebecca Makkai’s craft talk “You Talkin’ to Me?: The ‘Ear’ of the Story” looks at an important but underappreciated aspect of story craft, the flip side of point of view, the point of telling.  In her words, “Who is the story’s implied listener? Are you casting your listeners as people who already know this world or people who need to be filled in? And what are the political and artistic implications of glossing a culture or setting for readers who don’t know it?”

The post Tin House Live : Rebecca Makkai on The Ear of the Story appeared first on Tin House.

“Fernanda Melchor is part of a wave of real writing, a multi-tongue, variform, generationless, decadeless, ageless wave, that American contemporary literature must ignore if it is to hold on to its infantile worldview.” —Jesse Ball

Shortlisted for the 2020 Booker Prize, Hurricane Season is the English-language debut of one of the most thrilling and accomplished young Mexican writers, and her conversation on Between the Covers is Melchor’s first radio/podcast discussion of it in English.

The post Fernanda Melchor : Hurricane Season appeared first on Tin House.

“A Fortune for Your Disaster proves that, if you pay attention, Black people have defined and still define themselves for themselves amid roses and dandelions, cardinals and violets, the blues of music and police uniforms, prayer and swagger. . . . The disaster is not us or ours but what we endure, forced and as a matter of course, whether our presence is acknowledged or not, on our terms or not. As death insists on invading our lives, we keep making more and more beauty in order to survive it. . . . The beauty of our excellence is soundtracked by love and violence. . . . The fortune is us and it is ours. With a music as richly profound as we are, Abdurraqib makes it undeniably so.” —Khadijah Queen

The post Hanif Abdurraqib : A Fortune For Your Disaster appeared first on Tin House.

The New Yorker poetry editor and host of The New Yorker poetry podcast, Kevin Young, delivered this talk, “How to Write a Hoax Poem,” at the 2014 Tin House Writers Workshop. He discusses some of the more notable modern poetry hoaxes, glimpsing into the secret history of the poem as something conceived to tempt or even trick. By understanding the ways the hoax works, Young suggests that we may better know our own assumptions, habits, and hurts, and how to subvert them in our writing.

The post Tin House Live : How to Write a Hoax Poem with Kevin Young appeared first on Tin House.

“Whether speaking about motherhood, grief, or poetry, Zucker’s unrelenting eye and wittily critical voice peel back these experiences to reveal insights that are both deeply human and uncompromisingly analytic. . . . Above all, this book is open—open about difficult subjects, open in the way its language operates, open in its willingness to create a psychological intimacy between the speaker and the reader.” —Morgan Levine for The Columbia Review

The post Rachel Zucker : SoundMachine appeared first on Tin House.

Ingrid Rojas Contreras’ talk “Power & Audience: On Not Writing for White People” was given at the 2019 Tin House Summer Workshop in Portland, Oregon. In this talk she references a 2019 Publishing Industry Survey and a series of pie charts showing the racial, gender, sexual orientation, and ability breakdown of various subsets of the publishing industry. Contreras also further discusses these themes, in relationship to the recent controversy over the book American Dirt, in her new essay at The Cut called “There’s Nothing Thrilling About Trauma.”

 

The post Tin House Live : Power & Audience, On Not Writing for White People with Ingrid Rojas Contreras appeared first on Tin House.

Dorothy Allison treated the participants of the 2011 Summer Workshop to a spirited discussion of how characters should speak on the page. Not only “he said, she said, none of them said a thing,” but a whole range of language issues—what is said and not said, dialect and rhythm, pacing, patterns in speech, and most importantly, the language of gesture and avoidance.

 

The post Tin House Live : On Dialogue with Dorothy Allison appeared first on Tin House.

“Reinhardt’s Garden is one of those perfect books that looks small and exotic and melancholic from the outside but, once in, is immense and exultant in the best possible way. Think Amulet by Roberto Bolaño, think Nightwood by Djuna Barnes, think Train Dreams by Denis Johnson, think Wide Sargasso Sea by Jean Rhys, think Zama by Antonio Di Benedetto, think The Loser by Thomas Bernhard. Think.” —Rodrigo Fresán

The post Mark Haber : Reinhardt’s Garden appeared first on Tin House.

“Novelists don’t need to dream the end of the world anymore—they need to wake up to it. Jenny Offill is one of today’s few essential voices, because she writes about essential things, in sentences so clipped and glittering it’s as if they are all cut from one diamond.” –Jonathan Dee

The post Jenny Offill : Weather appeared first on Tin House.

“Lance Olsen locates his porous, alluring, heartbreaking, and haunted narrative in Berlin on a day in 1927. Poised at a moment of such hope and doom, it is a ravishing meditation on history, on time, and on what it is to be alive.” —Carole Maso

The post Lance Olsen : My Red Heaven appeared first on Tin House.

Alexander Chee delivered this craft lecture, from “First Draft to Plot,” at the 2016 Tin House Summer Workshop. Chee is the author most recently of the essay collection How to Write an Autobiographical Novel.

The post Tin House Live : “From First Draft to Plot” with Alexander Chee appeared first on Tin House.

“Garth Greenwell, whose first book is a masterpiece, amazingly has written a second book that is also a masterpiece. The great enterprise that Joyce and Lawrence began—to write with utter literal candor about sex, grounding one’s moral life and philosophical insight in what that candor reveals about us—finds fulfillment, a late apotheosis, in Greenwell’s work. Cleanness is the act of a master.” —Frank Bidart

The post Garth Greenwell : Cleanness appeared first on Tin House.

“In the Dream House . . . confronts the issues of credibility, self-doubt, and disbelief that all too frequently arise when survivors of domestic abuse speak out. But the work also stands as an intervention explicitly aimed at the silences, erasures, and lacunae of the culture at large . . . Machado’s In the Dream House shows us that a narrative of lesbian domestic abuse can be her story told in precisely her way—a human story, full of artistry, candor, and grace.” —James W. Fuerst

The post Carmen Maria Machado : In the Dream House appeared first on Tin House.

Jericho Brown gave these two talks, on suicide, and on joy, at the 2016 Tin House Summer Workshop in Portland, Oregon.  His latest poetry collection The Tradition (Copper Canyon Press) was a finalist for the 2019 National Book Award.

The post Tin House Live : Jericho Brown on Suicide & Joy appeared first on Tin House.

“In The Magical Language of Others, E. J. Koh writes of the boundary between anonymity and naming, between absence and abandonment, between cruelty and safety for four generations of mothers and daughters, each speaking with an occupied heart and crossing narrative borders between Korea, Japan, and America. As a reader, you give yourself over to her narrative territory and the resetting of the borders of lineage, language, and lives lost.” —Shawn Wong

The post E. J. Koh : The Magical Language of Others appeared first on Tin House.

“In this retelling of the Mahabharata from the point of view of its hitherto minor female characters, Karthika Naïr uncovers a seminal feminist text. Until the Lions makes dazzling use of concrete verse and surreptitious rhyme to tell a story you think you know. By poem’s end you understand, with gratitude, that you know nothing and the old world has been made new. This is nervy and accomplished poetry. Listen.” —Jeet Thayil

The post Karthika Naïr : Until the Lions : Echoes from the Mahabharata appeared first on Tin House.

“CAConrad always argues (from the inside of their poems) for a poetry of radical inclusivity while keeping a very queer shoulder to the wheel. Their kind of queerness strikes me as nonpolarizing, not intentionally but because of the fullness of their exposition, a kind of gigantism that seems to me to be most deeply informed by love, and a tenderness for the ravages and tumult of existence.” —Eileen Myles

The post CAConrad : Resurrect Extinct Vibration appeared first on Tin House.

“Older’s spellbinding novel is a fever dream full of magic and loss, wickedness and grace, faith and love, spirit and power.” —Marlon James;  “A lyrical, beautiful, devastating, literally haunting journey of assimilation, resistance, and family. Older just gets better and better.” —N.K. Jemisin

The post Daniel José Older : The Book of Lost Saints appeared first on Tin House.

“Jake Skeets takes us to ‘The Indian Capital of the World,’ a landscape of erosion and erasure, where ‘boys only hold boys / like bottles’ and eros is a dangerous thing. In the brush and horseweed, ghosts and trains and abandoned trailers, a young Diné attempts to answer all the question marks of adolescence and early adulthood, desire and death commingling around him. These are poems born of unspokenness, testing the limits of language, love, and silence.”―D. A. Powell

The post Jake Skeets : Eyes Bottle Dark with a Mouthful of Flowers appeared first on Tin House.

The post Tin House Live : ‘Writing Towards Joy’ Panel with Kelly Link, Garth Greenwell, Justin Torres appeared first on Tin House.

“This book is beyond special. Richard Powers manages to turn trees into vivid and engaging characters, something that indigenous people have done for eons but that modern literature has rarely if ever even attempted. It’s not just a completely absorbing, even overwhelming book; it’s a kind of breakthrough in the ways we think about and understand the world around us, at a moment when that is desperately needed.”—Bill McKibben

The post Richard Powers : The Overstory appeared first on Tin House.

“Grand Union is an unusual creature, combining all the experimental exuberance of a writer discovering a form with the technical prowess of one at the height of her abilities. The result is exhilarating. Between the covers of one book, readers will find such disparate forms as allegory, parable, speculative thriller and satire, as well as shorter incarnations of Smith’s characteristic social comedy . . . Smith’s voracious intellect is on full display.” —San Francisco Chronicle

The post Zadie Smith : Grand Union appeared first on Tin House.

Recorded at the 2019 Tin House Summer Writers Workshop at Reed College in Portland, Oregon, today’s episode is a medley of readings from three different nights. Garth Greenwell reads from his upcoming novel Cleanness (FSG January 2020), Michelle Tea  from her novel-in-progress, Little Faggot, and Kaveh Akbar the short and long poems “Vines” and “The Palace” respectively.

The post Tin House Live : Readings by Garth Greenwell, Michelle Tea, Kaveh Akbar appeared first on Tin House.

“Rob Schlegel has a voice you’d follow into the dark woods, knowing full well it’s hard, awful, daily, plain, living truth you’re running toward. The speaker in this book is a heartbreaker of a storyteller—a synesthesiac of mixed feelings, bad news, and wordsmithery. I feel known, caught out, believed in, vulnerable, when I read this book.”—Brenda Shaughnessy, judge, Iowa Poetry Prize

The post Rob Schlegel : In the Tree Where the Double Sex Sleeps appeared first on Tin House.

“Finding the Life of the Story: Vision & Revision” was recorded at the 2019 Tin House Summer Writers Workshop. Panelists Karen Shepard, Danielle Evans, R.O. Kwon and Jamel Brinkley talk strategies to draft and revise. Moderated by David Naimon, host of Between the Covers.

The post Tin House Live : Revision Panel with R.O. Kwon, Karen Shepard, Danielle Evans, Jamel Brinkley appeared first on Tin House.

“Filled with characters who mirror the chaos and anxiety, exhilaration and despair, desire and fear of the world around them, Home Remedies offers searing portraits of millennial Chinese immigrants. . . . Wang’s shimmering words offer proof that even the most mundane of these lives have the potential to become something extraordinary. . . .  A great, explosive talent.”—Nylon Magazine

The post Xuan Juliana Wang : Home Remedies appeared first on Tin House.

“These are stories that reflect the author’s Turkish heritage and a curiosity about our human search for meaning as profound as it is lyrical. The stories are music. They beguile and illuminate with narratives about yearning and desire, circumstance and courage, resilience and discovery.”—NPR

The post Ayşe Papatya Bucak : The Trojan War Museum appeared first on Tin House.

The post Brandon Shimoda : The Grave on the Wall appeared first on Tin House.

“J. G. Ballard meets William Gibson meets Jeff VanderMeer. Oval is an up-to-the-minute story about the twilight zones of corporate design, aesthetics, pharmacy, and bioengineering, where there’s nothing consultants won’t break in the quest for ‘innovation.’ What could possibly go wrong? Find out in Elvia Wilk’s crisp and stylish debut book.”—McKenzie Wark

The post Elvia Wilk : Oval appeared first on Tin House.

“In Lanny Max Porter has expanded on his innovative hybrid mode while remaining faithful to our species-wide tradition of storytelling through myth, magic, and parable, but also through the harrowing minutiae of being alive in the trying hours of a small town ruptured by loss. The result is a powerful yet tender reclamation of the imagination, love, and artmaking—all of it a brilliant defense of the outsider’s tenuous foothold in society.” —Ocean Vuong

The post Max Porter : Lanny appeared first on Tin House.

“Ted Chiang has no contemporary peers when it comes to the short story form. His name deserves to be mentioned in the same breath as Carver, Poe, Borges, and Kafka. Every story is a universe. Every story is a diamond. You will inhale Exhalation in a single, stunned sitting, because true genius doesn’t come along nearly as often as advertised. This is the real thing.”—Blake Crouch, author of Dark Matter

The post Ted Chiang : Exhalation appeared first on Tin House.

“An astonishment, a volcano of a novel with slowly and furiously mounting pressures of anguish and love and rage. No other book I’ve read in the past year has spoken so lucidly about our current moment, and yet none has felt as timeless; the always-wondrous Miriam Toews has written a book as close to a Greek tragedy as a contemporary Western novelist can come.”—Lauren Groff

The post Miriam Toews : Women Talking appeared first on Tin House.

“Shalmiyev stubbornly, brilliantly pursues loss in this psycho-geography of immigration, grief displacement, and damage. A mother herself, Shalmiyev’s narrator channels the ghosts of Dorothy Richardson, Anaïs Nin, Frances Farmer and the sad, bad stories of Aileen Wuornos and Amy Fisher, who could never be the right kind of girls. Like the great modernist writers, Shalmiyev writes from, not about, trauma but at a pitch that’s witty, dry, sad, and laconic. I love America, her narrator declares. It’s broken, like me.”—Chris Kraus, author of I Love Dick

The post Sophia Shalmiyev : Mother Winter appeared first on Tin House.

“Morgan Parker’s latest collection, Magical Negro, is a riveting testimony to everyday blackness. . . . It is wry and atmospheric, an epic work of aural pleasures and personifications that demands to be read—both as an account of a private life and as searing political protest.”—Glory Edim, Time Magazine

The post Morgan Parker : Magical Negro appeared first on Tin House.

“If The Taiga Syndrome is a book of illness, it’s also about exile, disappearance, borders, love, language and translation, desire, capitalism and its discontents, fairy tales, and what it means to be possessed by the madness of others and the madness of ourselves. The murmurs that haunt the detective in The Taiga Syndrome evoke the history of Mexican fiction, most notably Juan Rulfo. But this is not a religious state of purgatory. It’s more like Apocalypse Now fused with the worlds of Clarice Lispector and Jorge Luis Borges. In other words, there is no one writing novels as phantasmagorically exquisite as Cristina Rivera Garza’s. The Taiga Syndrome, which is both quietly poetic and narratively unhinged, is a crucial addition to her distinguished oeuvre.”—Daniel Borzutzky

The post Cristina Rivera Garza : The Taiga Syndrome appeared first on Tin House.

“Through prose that is at once passionate and percussive, Lacy Johnson’s The Reckonings demands that we place justice and discovery at the center of our conversations, memories, imaginations, and art. I don’t know that I’ve ever been happier to be alive after reading any book. In this weird way that probably says way too much about the smallness of my life, I felt like everything would be okay—like we will make and sustain justice—because a book I needed but never imagined reading was in the world . . . The Reckonings is proof that caring about this place, and getting lost in the minutiae of what makes us unjust might actually be a pre-req for creating incredible, life-altering, just art.”—Kiese Laymon

The post Lacy M. Johnson : The Reckonings appeared first on Tin House.

“Nobody writes like Schutt . . . and her latest collection is the perfect entry point for readers new to her work . . . In each of the collection’s 11 stories, Schutt gives readers dissipated women staggering to the brink of sanity, desperate men with foggy intentions, and an eerie atmosphere that radiates menace, sexuality, and murder . . . Schutt is always in control in this work by an experimental American writer of unparalleled style.”—Publishers Weekly

The post Christine Schutt : Pure Hollywood appeared first on Tin House.

“A vibrant memoir of race, violence, family, and manhood . . . Jackson recognizes there is too much for one conventional form, and his various storytelling methods imbue the book with an unpredictable dexterity. It is sharp and unshrinking in depictions of his life, his relatives (blood kin and otherwise), and his Pacific Northwest hometown, which serves as both inescapable character and villain. . . . It’s Jackson’s history, but it’s also a microcosm of too many black men struggling both against their worst instincts, and a society that often leaves them with too few alternatives. . . . His virtuosic wail of a book reminds us that for a black person in America, it can never be that easy.”—Boston Globe

Jackson’s “Survivor Files,” an excerpt from Survival Math, appears in issue 73 of Tin House magazine.

The post Mitchell S. Jackson : Survival Math appeared first on Tin House.

“Black Leopard, Red Wolf is the kind of novel I never realized I was missing until I read it. A dangerous, hallucinatory, ancient Africa, which becomes a fantasy world as well-realized as anything Tolkien made, with language as powerful as Angela Carter’s. It’s as deep and crafty as Gene Wolfe, bloodier than Robert E. Howard, and all Marlon James. It’s something very new that feels old, in the best way. I cannot wait for the next installment.” —Neil Gaiman

The post Marlon James : Black Leopard, Red Wolf appeared first on Tin House.

“Sycamore paints an unsparing and unsentimental portrait of survival in a homophobic era, and her writing is beyond beautiful. Sketchtasy is a powerful firecracker of a novel; it’s not just one of the best books of the year, it’s an instant classic of queer literature.”—Michael Schaub, NPR Books

The post Mattilda Bernstein Sycamore : Sketchtasy appeared first on Tin House.

The post Alicia Jo Rabins : Fruit Geode appeared first on Tin House.

“A terrific collection of stories. There are echoes here of Flannery O’Connor, Barry Hannah, and Denis Johnson, but Genevieve Hudson is her own writer—impressively and gloriously so. Her eye for the clinching detail is unnerving and her sympathies are fascinatingly conflicted. I hope, and suspect, this book will be the start of a long and inspiring career.” —Tom Bissell “Full of blood and dust and stars and light, Hudson captures the beauty and horror of the everyday and makes it all seem like magic.” —Leah Dieterich

The post Genevieve Hudson : Pretend We Live Here appeared first on Tin House.

“Yang rebuilds for the reader a town that is notable for its many stark contrasts: restored & ruined buildings, wealth & poverty, international art & border enforcement. Hey, Marfa makes a remarkable poetic accounting of the ways imagination is currently working with & against the histories & myths of the US/Mexico borderlands & the American West.”―Tim Johnson

“Hey, Marfa a commonplace book, memoir, & hybrid obituary for things: following a trail of ‘last words’ & communal losses, here is a History learning to listen with eyes & Mourning recovering the dead travelers on the road. Hey, Marfa transmits voltage or vitalized matter as words reach to words.”―Susan Howe

The post Jeffrey Yang : Hey Marfa appeared first on Tin House.

“Bhuvaneswar is unflinching about the lives of those for whom identity is a constant battle & the act of being is an unavoidable challenge, but she doesn’t ignore the beauty in their strength . . . White Dancing Elephants is a necessary book — & one that introduces a gifted voice to contemporary literature.”―NPR

“White Dancing Elephants is a searing & complex collection, wholly realized, each piece curled around its own beating heart. Tender & incisive, Chaya Bhuvaneswar is a surgeon on the page, unflinching in her aim, unwavering in her gaze, & absolutely devastating in her prose. This is an astonishing debut.”―Amelia Gray

The post Chaya Bhuvaneswar : White Dancing Elephants appeared first on Tin House.

“Long Soldier reminds readers of their physical and linguistic bodies as they are returned to language through their mouths and eyes and tongues across the fields of her poems.”—Natalie Diaz for The New York Times Book Review

“Layli Long Soldier’s movement between collective and personal makes this book intimate and urgent. She has charted new ways to write in what’s left out—and not merely in the margins either. WHEREAS offers a powerful reckoning.”—National Book Critics Circle Award judges’ citation

The post Layli Long Soldier : Whereas appeared first on Tin House.

“Williams’s short precise, & emphatic sentences build a strange society whose denizens are not quite familiar to us & not quite comfortable with their own quietly disturbing evolutions. Not a single moment of the prose here is what you expect, & even the ordinary is, in the context created by Diane Williams, no longer ordinary. It is fresh, happy & peculiar — or is it we who are refreshed, happy, & more peculiar than before after reading her?”—Lydia Davis

“Let’s hear it for the magnificent Diane Williams, one of the wittiest & most exacting writers of our time. Her fictions are fervid endorsements of terrible, joyous life. But that’s not quite right, because like all great literature, they are life.”—Sam Lipsyte

The post Diane Williams: The Collected Stories of Diane Williams appeared first on Tin House.

“Every explosive requires a fuse. That’s R. O. Kwon’s novel, a straight, slow-burning fuse. To read her novel is to follow an inexorable flame coming closer & closer to the object it will detonate—the characters, the crime, the story, &, ultimately, the reader.”—Viet Thanh Nguyen

“Kwon’s multi-faceted narrative portrays America’s dark, radical strain, exploring the lure of fundamentalism, our ability to be manipulated, and what can happen when we’re willing to do anything for a cause.” —Atlantic.com

“A God-haunted, willful, strange book written with a kind of savage elegance. I’ve said it before, but now I’ll shout it from the rooftops: R. O. Kwon is the real deal.”—Lauren Groff

The post R.O. Kwon : The Incendiaries appeared first on Tin House.

“Reading Tommy Pico’s Junk I kept thinking of Heather McHugh’s pronouncement that the main discipline of poetry is “to keep finding life strange.” Pico is the master of making the stone stony, or returning the sheer absurdity of being to everything, from grief to intimacy to dating apps to donuts. Junk insists on the urgency of the quotidian, of, to borrow a phrase from Pico, ‘vibrant inconsequence.’ It’s rare to read a book that makes living feel so alive.”—Kaveh Akbar

“A visceral exorcism of personal & collective demons . . . Pico demonstrates that a person’s many selves, traumas, anxieties, hookups, & breakups can become a marker of courage and survival.”—Publishers Weekly, Starred Review

The post Tommy Pico : Junk appeared first on Tin House.

Dubravka Ugrešić is considered one of Europe’s most distinctive novelists and essayists.  She is the 2016 winner of Neustadt International Prize for Literature for her body of work, joining literary luminaries from Gabriel Garcia Marquez to Elizabeth Bishop to Octavio Paz. In 1991 when war broke out in the former Yugoslavia, Ugrešić took a firm antiwar stance, critically dissecting retrograde Croatian and Serbian nationalism, the stupidity and criminality of war, and becoming a target for nationalist journalists, politicians, and fellow writers in the process. Subjected to prolonged public ostracism and persistent media harassment, she has lived in exile since 1993.

The post Dubravka Ugrešić : Fox & American Fictionary appeared first on Tin House.

“Anna Moschovakis takes the reader straight to the terrifying edge: that moment where one ages out of youthfulness & begins to flutter in the debris of middle living, flattened out by technology, wild-goose chasing one’s data. Yet, the deeper we look into Eleanor’s unsettledness, the more we see & the more hope we find in her rhizomic wandering. This is a beautiful slow burn of a novel.” —Renee Gladman

“By turns funny, melancholic, & provocative, Anna’s novel undoes & remakes the conventions of realist fiction through repetition & compression of time . . . It is ‘luminously ordinary’ in its progression, where profound shifts are as small as a postcard written or a hand touched.” —BOMB

The post Anna Moschovakis : Eleanor or The Rejection of the Progress of Love appeared first on Tin House.

In Dao Strom’s collection of poetic fragments, You Will Always Be Someone From Somewhere Else, translated by Ly Thuy Nguyen as Mình sẽ luôn là người nọ đến từ nơi nọ, the fragments are wholly filled—with text: English, Vietnamese, drifting, entwined, dense, vanishing—with space: empty, white, solid, black—with images: cropped, multiplied, sliced, erased—& with punctuation: plus, minus, inequality signs, slashes, brackets, & bullet points imbued with as much meaning as entire novels.

“After you depart from the cinema of her sea, you may ask, what or who is she? . . . why is she able to dismantle my soul so easily? . . . how is she able to make desolation so compellingly hospitable? What is her secret?”—Vi Khi Nao

The post Dao Strom : You Will Always Be Someone From Somewhere Else appeared first on Tin House.

“Lacey captures with eerie precision the strangeness of being a person in the world, living alongside other human beings with unknowable thoughts and feelings . . . Reading Lacey’s fiction feels like walking through a dark apartment in someone’s mind, full of winding hallways and unmarked doors. You never know quite where you are or where you’ll end up. Like the work of Clarice Lispector or Rachel Cusk, Lacey seems to be on the verge of inventing a new genre somewhere between prose poem and fugue state.”—Los Angeles Times

The post Catherine Lacey : Certain American States appeared first on Tin House.

“Forrest Gander’s life partner, the poet C.D. Wright, died suddenly a little more than two years ago, and this book is one result or record of the aftermath of that loss. In poems that are utterly naked and bereft, elegies, apologies, could-have-beens, Gander grieves and wonders about what’s left in his life. There is so much pain in this book—perhaps too much, almost too much—but what is poetry for if not for this? And there’s more life in one of these dark words than in most entire books. Reading this book may hurt, but it will help people to keep living through what they thought they could never survive.”—Craig Morgan Teicher for NPR

The post Forrest Gander : Be With appeared first on Tin House.

“Hodson’s essays have such a sexy drama to them—and ultimately it’s the romance of just getting through life; the passion that comes from being a wholly alert woman and living to tell about it. I had a real romance with this book.”—Miranda July

“Chelsea Hodson tests herself against her desires, grapples with their consequences, and presents a surgically precise account of what they were to her. These essays are bewitching—despite their discipline and rigor, you can smell the blood.”—Sarah Manguso

“A unique collection about being an artist and a woman in a world that doesn’t always value either.”—Booklist

The post Chelsea Hodson : Tonight I’m Someone Else appeared first on Tin House.

“From the anarchy, torment, and despair of the Syrian war, Marwan Hisham and Molly Crabapple have drawn a book of startling emotional power and intellectual depth. Many books will be written on the war’s exhaustive devastation of bodies and souls, and the defiant resistance of many trapped men and women, but the Mahabharata of the Levant has already found its wisest chroniclers.”—Pankaj Mishra

“A revelatory and necessary read on one of the most destructive wars of our time . . . In great personal detail, Marwan Hisham and Molly Crabapple poignantly capture the tumultuous life in Syria before, after, and during the war—from inside one young man’s consciousness.”—Angela Davis

 

The post Molly Crabapple : Brothers of the Gun – A Memoir of the Syrian War appeared first on Tin House.

“This book is going to change how we think about life and women forever; like ancient Greek philosopher level of describing reality in a way that creates it. So, go or don’t go, read the book or don’t—either way your life will be changed by this thinker. I’m being serious here.”—Miranda July

“This inquiry into the modern woman’s moral, social and psychological relationship to procreation is an illumination, a provocation, and a response—finally—to the new norms of femininity, formulated from the deepest reaches of female intellectual authority. It is unlike anything else I’ve read. Sheila Heti has broken new ground, both in her maturity as an artist and in the possibilities of the female discourse itself.”—Rachel Cusk

 

 

The post Sheila Heti : Motherhood appeared first on Tin House.

“Not many authors are compared to Borges, Cervantes, and Kathy Acker all in one breath, but that is exactly what we’re dealing with here: Azareen Van der Vliet Oloomi is a twisted, twisty genius.”—Nylon Magazine

“Van der Vliet Oloomi captures the shattered identity of the refugee and the immigrant, the way that literature becomes a lifeline in exile: a movable home, a network of dissent, a genealogy beyond national borders.”—Los Angeles Review of Books

“Hearken ye fellow misfits, migrants, outcasts, squint-eyed bibliophiles, library-haunters and book stall-stalkers: Here is a novel for you.”—The Wall Street Journal

The post Azareen Van Der Vliet Oloomi : Call Me Zebra appeared first on Tin House.

“Jen Bervin’s work—all of it—engages the eye, the hand, the ear, and the mind. Her artistry is vast and inclusive, by finesse and intelligence, by curiosity, forbearance, and vision. She knows the unexpected wonder of pattern is everywhere and that the smallest detail contains enough energy to spawn a universe. I think they should send her into space, if it were not for the fact her work has already sent us there. Her poems in themselves, those exhilirated fragments, are the purest form of the art itself—they contain the innate inner gradients of whatever takes our breath away.”—Mary Ruefle

The post Jen Bervin : Silk Poems appeared first on Tin House.

“Cheston Knapp’s Up Up, Down Down has the uncanny, welcome ability to make so-called mainstream or dominant culture—white, masculinist, Christian, frat boy, & so on—appear newly strange, & newly open to analysis. He has the eye & ear of an anthropologist, a joyously expansive vocabulary, a prose style that feels both extravagant & exact, & a big, booming heart.”—Maggie Nelson

“This book made me laugh out loud in embarrassing places—a quiet Swedish train, a darkened redeye flight—& its insights will keep echoing in me for a long time.”—Leslie Jamison

The post Cheston Knapp : Up Up Down Down appeared first on Tin House.

“In Counternarratives, John Keene undertakes a kind of literary counterarchaeology, a series of fictions that challenge our notion of what constitutes ‘real’ or ‘accurate’ history. His writing is at turns playful and erudite, lyric and coldly diagnostic, but always completely absorbing. Counternarratives could easily be compared to Borges or Bolaño, Calvino or Kiš.”—Jess Row

“Keene’s story collection is truly radical—in its politics, in its stylistic restlessness, in its rethinking of the myths we tell ourselves about race and sexuality in the history of the Americas.”—Anthony Domestico

The post John Keene : Counternarratives, Playland, and Grind appeared first on Tin House.

“These pieces are elaborate piecework—perforated, whip stitched, and distressed field-dressed dissections of language. Tortured? Maybe. But lusciously junked & juxtaposed, turned inside out & every which way but . . . No, in every way they make way.”—Michael Martone

“Imagine an entity composed of sheep, wheat, assholes, clitorises, stars. Why not? That would be this poem, this world—a perfectly recognizable post-human world which is also post surreal. Vi Khi Nao is making it new, no, she is doing the old job of making us see what’s already here in a new way.”—Rae Armantrout

The post Vi Khi Nao : Umbilical Hospital & A Brief Alphabet of Torture appeared first on Tin House.

Micheline Aharonian Marcom’s The Brick House is a place where people dream of love and loneliness, of the world’s beauty, and of ongoing environmental degradation. Travelers confront their lives in the strange, elemental language which dreams allow for, a strangeness mirrored in the accompanying illustrations by Fowzia Karimi. Inspired by Calvino’s Invisible Cities and Kawabata’s House of Sleeping Beauties, and following in the tradition of Armenian illuminated manuscripts, The Brick House is in Rikki Ducornet’s words “Fierce, fearlessly erotic and always unforeseeable.”

The post Micheline Aharonian Marcom : The Brick House appeared first on Tin House.

“Heart Berries by Terese Mailhot is an astounding memoir in essays. Here is a wound. Here is need, naked and unapologetic. Here is a mountain woman, towering in words great and small . . . What Mailhot has accomplished in this exquisite book is brilliance both raw and refined.” ―Roxane Gay

“If Heart Berries is any indication, the work to come will not just surface suppressed stories; it might give birth to new forms.”—The New York Times

The post Terese Marie Mailhot : Heart Berries appeared first on Tin House.

“Cross-pollinating fairy tales, horror movies, TV shows, & a terrific sense of humor, Machado’s work reminds me at different times of such wildly divergent figures as David Lynch, Jane Campion, Maggie Nelson, & Grace Paley; which is a way of saying, Machado sounds like nobody but herself.”—John Powers, NPR “Fresh Air”

“The book abounds with fantastical premises that ring true because the intensity of sexual desire, the mutability of the body, & the realities of gender inequality make them so. These stories stand as exquisitely rendered, poignant hauntings.”—San Francisco Chronicle

The post Carmen Maria Machado : Her Body and Other Parties appeared first on Tin House.

“In Gospel of Regicide, Eunsong Kim develops a thrilling method for unwriting lyric even as she reimagines it, creating a socially engaged poetry of & for our time. Anticapitalist, feminist & anti-racist yet critical of non-intersectional understandings of identity & selfhood, she is unafraid of drawing the sacred from the pedestrian, & unbeholden to whiteness as foundation. These poems, mutable in form & style, yet cohesive in their vision, suggest a complex & different order allowing us to ‘complete the story.’ Kim kills the king, & blesses us with a superlative collection as a result.”—John Keene

 

The post Eunsong Kim : Gospel of Regicide appeared first on Tin House.

“Leni Zumas here proves she can do almost anything. Her tale feels part Melvillian, part Lydia Davis, part Octavia Butler—but really Zumas’s vision is entirely her own. Red Clocks is funny, mordant, political, poetic, alarming, and inspiring—not to mention a way forward for fiction now.”—Maggie Nelson

“Move over Atwood, Leni Zumas’s Red Clocks is a gender roaring tour de force. The bodies of women in Red Clocks are each the site of resistance and revolution. I screamed out loud. I pumped my fist in the air. And I remembered how hope is forged from the ground up, through the bodies of women who won’t be buried.”—Lidia Yuknavitch

The post Leni Zumas : Red Clocks appeared first on Tin House.

“Biespiel’s supple memoir of becoming a poet will surely inspire other writers to embrace the bodily character of writing & feel the power &, sometimes, the emptiness of the act of writing poetry.”—Publishers Weekly, starred review

“Whether he is writing about poetry, politics, competitive diving, or the glories of great conversation, Biespiel’s recurring subject is the tension between freedom & discipline―between the sublime release of our own wildness & the precision that comes only from exquisite self-control. Part memoir, part ars poetica, The Education of a Young Poet is a feast: of language, of memory, & of insights into how one young writer came into his own.”—Patrick Phillips

The post David Biespiel : The Education of a Young Poet appeared first on Tin House.

“For nearly 40 years Armantrout has made a poetics of not finding the right words–of finding, in fact, the ‘wrong’ ones . . . Armantrout restores the strangeness of experiences we take for granted.”—Michael Robbins, Chicago Tribune

“Hoopskirts, star jasmine, synchronized swimming, Russian icons, a ceramic fish face, electrons & photons: in these poems, everything is interconnected, thought through, deeply felt & expressed in the most precise and necessary words. Armantrout is one of our most inventive & magnetic poets, & she never disappoints: with inspired patience, she embraces the strangeness of our familiar world & refashions it into something new & utterly transporting.”—Lydia Davis

The post Rae Armantrout : Partly – New & Selected Poems appeared first on Tin House.

“What is a dog if not god? In Afterglow, Eileen Myles steps up to the challenge for writers to function as prophets. Ghostwritten in part by deceased pit bull Rosie, this ‘dog memoir’ explores—among other things—geometry, gender, mortality, evil, aging, and plaids. Myles makes new rules for what prose writing can be. Afterglow is Myles’s funniest, profoundest work yet.”—Chris Kraus

“Only Eileen Myles could reinvent the memoir again so stunningly; Afterglow is the sort of multidimensional love story you could only expect from one of our greatest experimental writers living today!”—Porochista Khakpour

The post Eileen Myles : Afterglow appeared first on Tin House.

“I read Little Fires Everywhere in a single, breathless sitting. With brilliance and beauty, Celeste Ng dissects a microcosm of American society just when we need to see it beneath the microscope:  how do questions of race stack up against the comfort of privilege, and what role does that play in parenting?  Is motherhood a bond forged by blood, or by love?  And perhaps most importantly:  do the faults of our past determine what we deserve in the future?  Be ready to be wowed by Ng’s writing—and unsettled by the mirror held up to one’s own beliefs.”—Jodi Picoult

The post Celeste Ng : Little Fires Everywhere appeared first on Tin House.

“Spells is a fascinating hybrid text, not simply illustrated by a collection of photographs but created in response to them, a collaboration between Peter Rock and five photographers. The result is a novel unlike any I’ve read before, that weaves elements of realism, fable, prose poetry, and essay through the supporting structure of images to create something beautiful and unsettling.”—Cari Luna

“Rock’s prose calls to mind Kazuo Ishiguro, not just for its spareness but also for its mix of wonder and creepiness.”—New York Times

The post Peter Rock : Spells appeared first on Tin House.

“Sinclair crafts her stunning debut collection around the beauty & brutality of the word cannibal, whose origins derive from Columbus’s belief that the Carib people consumed human flesh. Attacking this dehumanizing judgment born from white entitlement & denouncing the idea that blackness is synonymous with savagery, Sinclair ponders such questions as, How does a poet get inside the head of Shakespeare’s Caliban? How would Caliban define blackness without the filter of a white man’s bias? . . . Through her visceral language Sinclair paints the institution of white supremacy as not just an individualized phenomenon, but as a ruthless & menacing force.”—Publisher’s Weekly, starred review

The post Safiya Sinclair : Cannibal appeared first on Tin House.

In Why Poetry,  award-winning poet, translator, and editor, Matthew Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. Anchored in poetic analysis & steered by Zapruder’s personal experience of coming to the form, Why Poetry is engaging & conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. He takes on what it is that poetry—and poetry alone—can do. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose.

The post Matthew Zapruder : Why Poetry appeared first on Tin House.

“As a descendent of Chantal Akerman and Unica Zürn—among others—Yanara Friedland reimagines the origin myth. Friedland’s permeable pages allow the reader entryway into a ‘mirror [that] becomes an open door,’ a door through which we hear the echo of Ana Mendieta telling us ‘There is no original past to redeem: there is the void.’ Uncountry is an invitation to that void, and Friedland serves as dream guide through this blend of the personal, political, and stunningly poetic”—Lily Hoang

Uncountry: a Mythology is winner of the Noemi Press Fiction Prize

The post Yanara Friedland : Uncountry appeared first on Tin House.

“Mary Ruefle’s careful, measured sentences sound as if they were written by a thousand-year-old person who is still genuinely curious about the world . . . She combines imagistic techniques from surrealism with narrative techniques to create surprising, high-velocity, and deeply affecting work.”—The Stranger

“Mary Ruefle is, in this humble bookseller’s opinion, the best prose-writing poet in America. (And one of our best poets, too.) My Private Property, her latest collection of stories, essays, and asides, is as joyous and singular a book as you’ll read.”—Stephen Sparks, Literary Hub

The post Mary Ruefle : My Private Property appeared first on Tin House.

In the court of the King, everyone knows their place. But as the Artist wins hearts & egos with his ballads, uncomfortable truths emerge that shake the Kingdom to its core. Part surreal fable & part crime romance, this prize-winning novel from Yuri Herrera questions the price of keeping your integrity in a world ruled by patronage & power.

“A powerful & memorable meditation on the social & economic value of art in a world ruled by the pursuit of power.”—Publisher’s Weekly

“Yuri Herrera must be a 1000 years old. He must’ve traveled to hell, & heaven, & back again. He must’ve once been a girl, an animal, a rock, a boy, & a woman. Nothing else explains the vastness of his understanding”—Valeria Luiselli

The post Yuri Herrera : Kingdom Cons appeared first on Tin House.

“[Gregory Pardlo] explores what is American, what is African American, what is the Other, what is city, what is suburban, what is personal & what is persona. Digest offers a changing, rich landscape of verse both haunting, funny, & rigorously intellectual—Jerry Magazine

“[Pardlo] renders history just as clearly & palpably as he renders NYC or Copenhagen or his native New Jersey. But mostly what he renders is America with its intractable conundrums & clashing iconographies. With lines that balance poise & a jam-packed visceral music & images that glimmer & seethe together like a conflagration these poems are a showcase for Pardlo’s ample & agile mind, his courageous social conscience, & his mighty voice.”—Tracy K. Smith

The post Gregory Pardlo : Digest appeared first on Tin House.

What are the forces that shape our most elemental bonds? How do we make lifelong commitments in the face of identities that are continuously shifting, and commit ourselves when the self is so often in flux? What happens to love in the face of the unexpected, in the face of disappointment and compromise—how do we wrest beauty from imperfection, find grace in the ordinary, desire what we have rather than what we lack? Drawing on literature, poetry, philosophy, and theology, Shapiro writes gloriously of the joys and challenges of matrimonial life, in a luminous narrative that unfurls with urgent immediacy and sharp intelligence.

The post Dani Shapiro : Hourglass appeared first on Tin House.

“Here is the story about biotech that VanderMeer wants to tell, a vision of the nonhuman not as one fixed thing, one fixed destiny, but as either peaceful or catastrophic, by our side or out on a rampage as our behavior dictates—for these are our children, born of us and now to be borne in whatever shape or mess we have created. This coming-of-age story signals that eco-fiction has come of age as well: wilder, more reckless and more breathtaking than previously thought, a wager and a promise that what emerges from the twenty-first century will be as good as any from the twentieth, or the nineteenth.” —Wai Chee Dimock, The New York Times Book Review

The post Jeff Vandermeer : Borne appeared first on Tin House.

“Thalia Field has now composed what very well might be her life’s work—a tragic, comical, & utterly fascinating tale of a marriage that vividly encapsulates not only the origins of experimental medicine, but an entire age that spirited experiments in literature, science, engineering, film, etc. It’s nothing less than a history—gorgeously fictional, purposefully essayistic–of how we got where we are.”—John D’Agata

“Stemming from a through-line of marital discord in the household of the great French vivisector Claude Bernard . . . this compelling tale is made up largely of excerpts and quotations . . . a beautiful and thought-provoking collage of . . . rescued history & a sobering tribute to some of its victims.”—Karen Joy Fowler

The post Thalia Field : Experimental Animals appeared first on Tin House.

“That Sallie Tisdale’s a treasure comes as no secret to lovers of the essay, and yet this happy gathering that spans the decades is revelatory, a fascinating look at the epic wanderings of a life mapped by curiosity. Here we get elephants and houseflies, diets and fires, birth and the debris of death, all the mixed and messy vitality of family life. We travel far and we travel wide, but in the end we circle home to Tisdale herself, vulnerable and available, intimate and encouraging, our guide and our friend, her questioning presence lighting the way and celebrating it all, every little step in life’s saga, one lovely sentence at a time.”—Charles D’Ambrosio

The post Sallie Tisdale : Violation appeared first on Tin House.

Morgan Parker uses political & pop-cultural references as a framework to explore 21st century black American womanhood & its complexities: performance, depression, isolation, exoticism, racism, femininity & politics. Parker explores this in the contemporary American political climate, folding in references from jazz standards, visual art, personal family history, & Hip Hop. The voice of this book is a multifarious one: writing & rewriting bodies, stories, & histories of the past, as well as uttering & bearing witness to the truth of the present; actively probing toward a new self, an actualized self. This is a book at the intersections of mythology & sorrow, of vulnerability & posturing, of desire & disgust, of tragedy & excellence.

The post Morgan Parker : There Are More Beautiful Things Than Beyoncé appeared first on Tin House.

“Abandon Me is, in many ways, a story about how a woman’s body & the body of literature hold memory. In other ways, Abandon Me is a story about stories. Febos weaves familial stories, feminist stories, communal stories, literary stories & love stories,  revealing much of where she’s been & where we, her readers, might go if we dare. Do we dare? Are we all running away from abandonment? It makes sense that Abandon Me feels completely structurally innovative. Febos has created 21st century text that intimately explores addiction, pain, pleasure & the strangely joyful & terrifying nuances of abandonment. I don’t know that I’ve ever felt more thankful to read a book. Abandon Me found me when I most needed it.” —Kiese Laymon

The post Melissa Febos : Abandon Me appeared first on Tin House.

“Hard times are coming, when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society & its obsessive technologies to other ways of being, & even imagine real grounds for hope. We’ll need writers who can remember freedom—poets, visionaries—realists of a larger reality. . .”  Words Are My Matter collects talks, essays, intros to beloved books, & book reviews by Ursula K. Le Guin, one of our foremost public literary intellectuals. It is essential reading, & through the lens of deep considerations of contemporary writing, a way of exploring the world we are all living in.

The post Ursula K. Le Guin : Words Are My Matter appeared first on Tin House.

An outlaw activist on the run. A pipeline set to destroy a river. And 3 young women who must decide who to love, who to trust, & what to sacrifice for the greater good. Based in part on real events in the Northwest & Southwest in the early 90s & mid-aughts, Hot Season explores what Oregon Book Award Winner Cari Luna calls “the charged terrain where the youthful search for identity meets the romantic, illicit lure of direct action.”

“Is it worse to destroy a dam or to destroy a river? Which is to say, how do we live our conscience on a crowded, corrupted planet? DeFreitas has captured what it means to be coming of age in a tangle of love, politics & environmental degradation.”—Monica Drake

The post Susan DeFreitas : Hot Season appeared first on Tin House.

In this virtuosic array of poems, lists, shards, & sequences, Sharif assembles fragmented narratives in the aftermath of war. Those repercussions echo in the present day, the grief for those killed in America’s invasions of Afghanistan & Iraq, the discriminations endured at the checkpoints of daily encounter. At the same time, these poems point to ways violence is conducted against language, employing words lifted from the Department of Defense Dictionary of Military & Associated Terms. Sharif exposes euphemisms deployed to sterilize language, control its effects, & sway our collective resolve, but refuses to accept this terminology as given, instead turning it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

The post Solmaz Sharif : Look appeared first on Tin House.

“If you love stories but distrust them, if you love language & can also see how it is used as a tool or a weapon in the maintenance of status quo, then read The Winged Histories.”—Marion Deeds, Fantasy Literature

“Told by four different women, it is a story of war; not epic battles of good & evil, but the attempt to make things right & the realities of violence wielded by one human against another, by one group against another. It’s about the aftermath of war, in which some things are better but others are worse. Above all, it’s a story about love—the terrible love that tears lives apart. Doomed love; impossible love; love that requires a rewriting of the rules, be it for a country, a person, or a story.”—Jenn Northington, Tor.com

The post Sofia Samatar : The Winged Histories appeared first on Tin House.

“This 21st century hymnal of black evolutionary poetry, this almanac, this theatrical melange of miraculous meta-memory. Tyehimba Jess is inventive, prophetic, wondrous. He writes unflinchingly into the historical clefs of blackface, black sound, human sensibility. After the last poem is read we have no idea how long we’ve been on our knees.”—Nikky Finney

“Olio is one of the most inventive, intensive poetic undertakings of the past decade . . . The result is a work both historical and musical, scholarly and sculptural.”—Boston Globe

 

The post Tyehimba Jess : Olio appeared first on Tin House.

A new collection from “one of the world’s great essayists” (The New York Times), The Ghosts of Birds offers 35 new essays by Eliot Weinberger.  He chronicles a 19th century journey down the Colorado River, records the dreams of people named Chang, & shares other factually verifiable discoveries that seem too fabulous to possibly be true. These essays include his notorious review of George W. Bush’s memoir, Decision Points, writings about the I Ching, & the history of American Indophilia (“There is a line, however jagged, from pseudo-Hinduism to Malcolm X”). This collection proves once again that Weinberger is “one of the bravest and sharpest minds in the U.S.” (Javier Marías)

The post Eliot Weinberger : The Ghosts of Birds appeared first on Tin House.

“You can’t write about dogs without writing about people. They chose long ago to be our good company in the adventure of being alive, and ever since they’ve served as our mirrors, our teachers, and the most stubbornly loyal of friends. Pauls Toutonghi understands the richness of these bonds. In Dog Gone, this engaging storyteller lights up the ways the love between human and dog brings both species to hilarity, gratitude, deep sorrow and a tenderness so real you can’t help but touch it.”—Mark Doty

The post Pauls Toutonghi : Dog Gone appeared first on Tin House.

Following her acclaimed novels Clown Girl and The Stud Book, Monica Drake presents her long-awaited first collection of stories. “What can I say about Monica Drake’s stories? They are brilliant, sure. They are hilarious, yes. Each one is a marvel. But more importantly–they are raw and awake and full of life. At the center of each one is the bright beating heart of what literature can be: Relevant, unusual, entertaining, fascinating, unique. These are not characters–and Drake’s is not a voice–that you can ignore or forget.”—Pauls Toutonghi

The post Monica Drake : The Folly of Loving Life appeared first on Tin House.

“A faltering journalist returns to an island abandoned after an earthquake released a toxic spill. That’s the beautifully wrought setting of this novel, which reunites two childhood friends, one of whom has joined a sect claiming it can heal the land.”—O, The Oprah Magazine

“Tucked into this suspenseful plot are stunning and important reflections on nature and the environment, its awe-inspiring power and the many ways humanity both detracts from that power and willfully ignores it—and how that shapes our lives.”—Shelf Awareness

The post Alexis Smith : Marrow Island appeared first on Tin House.

Jesse Ball’s blistering novel tells the story of a teenage girl who has lost everything—and will burn anything. Lucia’s father is dead, her mother in a mental hospital, and now she’s been kicked out of school—again. She makes her way through the world with only a book, a zippo lighter, a pocketful of stolen licorice, a biting wit, and the striking intel­ligence that she tries to hide.

“Lucia details a philosophy that smartly parallels the novel’s own–namely, that writing literature is, like arson, an act of creation and destruction . . . A song of teenage heartbreak sung with a movingly particular sadness, a mature meditation on how actually saying something, not just speaking, is what most makes a voice human.”—Publishers Weekly, starred review

The post Jesse Ball : How to Set a Fire and Why appeared first on Tin House.

A feral boy comes of age on a campus decadent with starched sheets, sweating cocktails, & homemade jams. Stub is the cause of that missing sweater, the pie that disappeared off the cooling rack. Then Stub meets Billy, who takes him in, & Asthma, who enchants him, & all is found, then lost. A fragrant, voluptuous novel of imposture, misplaced affection, & the many ways we are both visible & invisible to one another. The author of eight previous novels as well as collections of short stories, essays, & poems, Rikki Ducornet has been a finalist for the National Book Critics Circle Award, is a two-time honoree of the Lannan Foundation, & is the recipient of an Academy Award in Literature.

The post Rikki Ducornet : Brightfellow appeared first on Tin House.

This powerful autobiographical novel describes a young Chilean writer recently relocated to New York for doctoral work who suffers a stroke, leaving her blind & increasingly dependent on those closest to her. Fiction & autobiography intertwine in an intense, visceral, & caustic novel about the relation between the body, illness, & gender.

“Meruane writes further into, rather than through or around, blindness. Her language pulses with the psychological terror of the body’s betrayal; it pulls at the seams of the self, unleashing something deep within. This is not a fictionalized memoir of transformation & recovery, but a book that burns in your hands, something sharp & terrifying that bites back.”—Anna Zalokostas

The post Lina Meruane : Seeing Red appeared first on Tin House.

“Truly exceptional memoirs have to do something more than recount a good origin story: they have to test the author’s youthful understanding of the world, and break down that world, even as it’s being built upon the page. All Tomorrow’s Parties is such a memoir. Not only is it a super-fun, shatter-the-mirror joyride through Spillman’s eccentric upbringing, but it’s also replete with insightful double visions . . . [Spillman] manages to invoke both the dreamy, mythic version of life amid art and interesting scenery, and all the chaos and cracks and potential car crashes that threaten it . . . A thrill to read.”—Interview Magazine

The post Rob Spillman : All Tomorrow’s Parties appeared first on Tin House.

“Into what some are calling a new golden age of creative nonfiction lands Brian Blanchfield’s Proxies, which singlehandedly raises the bar for what’s possible in the field. This is a momentous work informed by a lifetime of thinking, reading, loving, and reckoning, utterly matchless in its erudition, its precision, its range, its daring, and its grace. I know of no book like it, nor any recent book as thoroughly good, in art or in heart.”—Maggie Nelson

“Maybe short says it best. Sexy book.”—Eileen Myles

 

The post Brian Blanchfield : Proxies appeared first on Tin House.

“Idra Novey, an acclaimed poet & translator of Spanish & Portuguese literature, has written a debut novel that’s a fast-paced, beguilingly playful, noirish literary mystery with a translator at its center. Ways to Disappear explores the meaning behind a writer’s words—the way they can both hide & reveal deep truths. . . . Yes, there’s carnage, but there’s also exuberant love, revelations of long-buried, unhappy secrets, ruminations about what makes a satisfying life, a publisher’s regrets about moral compromises in both his work & his use of his family wealth & connections, & an alternately heartfelt & wry portrait of the satisfactions & anxieties of the generally underappreciated art of translation.”—NPR

The post Idra Novey : Ways to Disappear appeared first on Tin House.

Late in the Day, Ursula K. Le Guin’s new collection of poems (2010–2014) seeks meaning in an ever-connected world, giving voice to objects that may not speak a human language but communicate with us nevertheless through and about the seasonal rhythms of the earth, the minute and the vast, the ordinary and the mythological. As Le Guin herself states, “science explicates, poetry implicates.” Accordingly, this immersive, tender collection implicates us (in the best sense) in a subjectivity of everyday objects and occurrences.

“There is no writer with an imagination as forceful and delicate as Ursula K. Le Guin’s.”—Grace Paley

The post Ursula K. Le Guin : Late in the Day appeared first on Tin House.

A stuffed bear’s heart beats with the rhythm of a dead baby; Reno keeps receding to the east no matter how far you drive; and in a mine on another planet, the dust won’t stop seeping in. In these stories, Brian Evenson unsettles us with the everyday and the extraordinary—the terror of living with the knowledge of all we cannot know.

“Brian Evenson is one of the treasures of American story writing, a true successor both to the generation of Coover, Barthelme, Hawkes & Co., but also to Edgar Allan Poe.”—Jonathan Lethem

“There is not a more intense, prolific, or apocalyptic writer of fiction in America than Brian Evenson.”—George Saunders

The post Brian Evenson : A Collapse of Horses appeared first on Tin House.

In this stunning work of historical fiction, Laila Lalami brings us the imagined memoirs of the 1st black explorer of America, a Moroccan slave whose testimony was left out of the official record. In 1527, the conquistador Narváez sailed with a crew of 600 men & nearly 100 horses. Within a year there were only 4 survivors, one of them our narrator/protagonist Estebanico. As this dramatic chronicle unfolds, we come to understand that, contrary to popular belief, black men played a significant part in New World exploration, & that Native American men & women were not merely silent witnesses to it. In Laila Lalami’s deft hands, Estebanico’s memoir illuminates the ways in which stories transmigrate into history, even as storytelling offers a chance at redemption & survival.

The post Laila Lalami : The Moor’s Account appeared first on Tin House.

“[Lacy M. Johnson’s] powerfully moving and brilliantly structured memoir, The Other Side, asks, ‘How is it possible to reclaim the body after devastating violence?’ Her intense desire and demand for a life lived in the body is triumphant. Johnson’s strength to free not only her physical self, but also to move through years of incapacitating fear by writing this book, is breathtaking: ‘I lift the chain from my neck, over my head, let it rattle to the floor.'”—Kelle Groom

The post Lacy M. Johnson : The Other Side appeared first on Tin House.

“It won’t take long—a page, maybe two—before you feel wondrously disquieted by Keith Lee Morris’s Travelers Rest. The novel traps its characters in the town of Good Night, Idaho, and the reader in its shaken snow globe of a world. The language dazzles and the circumstances chill and put this story in the good company of Stephen King’s The Shining, Shirley Jackson’s The Haunting of Hill House, and David Lynch’s Twin Peaks. This is a breakout book that will earn Morris the wide readership he richly deserves.”―Benjamin Percy

The post Keith Lee Morris : Travelers Rest appeared first on Tin House.

From the author of the National Book Award-nominated Veronica: Mary Gaitskill’s The Mare—the story of a Dominican girl, the white woman who introduces her to riding, and the horse who changes everything for her.

“Gaitskill takes a premise that could have been preachy, sentimental, or simplistic—juxtaposing urban and rural, rich and poor, young and old, brown and white—and makes it candid and emotionally complex, spare, real, and deeply affecting. Gaitskill explores the complexities of love (mares, meres . . .) to bring us a novel that gallops along like a bracing bareback ride on a powerful thoroughbred.”—Kirkus, starred review

The post Mary Gaitskill : The Mare appeared first on Tin House.

Written in collaboration with the workers at a Jumex juice factory, The Story of My Teeth is a witty, exhilarating romp through the industrial suburbs of Mexico City and Luiselli’s own literary influences.  Protagonist Gustavo “Highway” Sánchez Sánchez is a late-in-life world traveler, yarn spinner, collector, and legendary auctioneer. His most precious possessions are the teeth of the “notorious infamous” like Plato, Petrarch, and Virginia Woolf.  Highway adds value to these teeth that he auctions off through the stories he tells of them, while The Story of My Teeth examines the value of storytelling itself.

The post Valeria Luiselli : The Story of My Teeth appeared first on Tin House.

NPR calls Gutshot “a book brimming with blood, sexual deviance, mucus and madness.” The New York Times says “reading Gutshot is a little like being blindfolded and pelted from all sides with fire, Jell-O and the occasional live animal.” And Vice Magazine calls it a book full of bodily fluids and strange sights and smells. That said, Gray’s work is not disturbing for its own sake, but as the Chicago Tribune says “has an unflinching intimacy that is completely and absorbingly her own” and that “if there is one story Gray is telling over and over again, it’s about the embodiedness of language, the blood and guts of books themselves.”

The post Amelia Gray : Gutshot appeared first on Tin House.

Ursula K. Le Guin believes we cannot restructure society without restructuring the English language, and thus her book on the craft of writing inevitably engages class, gender, race, capitalism, and morality, all of which are not separate from grammar, punctuation, tense, and point of view for Le Guin. Ursula K. Le Guin is the author of more than sixty books of fiction, fantasy, children’s literature, poetry, drama, criticism, and translation. She talks today about her writing guide, Steering The Craft, newly rewritten and revised for writers of fiction and memoir in the 21st century.

The post Ursula K. Le Guin : Steering The Craft appeared first on Tin House.

“Liz Prato’s stories are filled with the lost, the lonely, and the damned, and she makes all of them sing with a haunting grandeur. Baby’s on Fire is a lamentation brimming with wit, candor, and the eternal possibility of mercy,” says writer Steve Almond about Liz Prato’s debut collection of stories.

“The stories are at once beautifully written and tremendously compelling—not to mention filled with characters so full of life that they feel as real as people we know. A knockout collection.”—Molly Antopol

Liz is a fiction writer and essayist, teacher and editor, in Portland, Oregon.

The post Liz Prato : Baby’s On Fire appeared first on Tin House.

Library Journal calls David Biespiel’s A Long High Whistle one of the best books about reading poetry you will ever find. Biespiel is a poet, editor, essayist, critic, and teacher, and also the writer of the longest-running newspaper column on poetry in the United States. A Long High Whistle discusses the work of nearly a hundred poets from ancient times to the present, in English and in translation. This collection will provide anyone, from the beginning poet to the mature writer to the lover of literature, with insights into what inspires poets, how poems are written and read, and how poetry situates itself in American life.

The post David Biespiel : A Long High Whistle appeared first on Tin House.

Rebecca Makkai, whose stories have appeared in four consecutive editions of The Best American Short Stories, discusses her much-anticipated story collection Music for Wartime. A reality show producer manipulates two contestants into falling in love, even as her own relationship falls apart. A young boy has a revelation about his father’s past when a renowned Romanian violinist plays a concert in their home. A composer records the folk songs of two women from a village on the brink of destruction. These stories—some inspired by her own family history—demonstrate Makkai’s extraordinary range as a storyteller, and confirm her as a master of the short story form.

The post Rebecca Makkai : Music For Wartime appeared first on Tin House.

An intrepid voyage out to the frontiers of the latest thinking about love, language, and family. Maggie Nelson binds her personal experience, the story of her relationship with the fluidly-gendered artist Harry Dodge, to a rigorous exploration of what iconic theorists have said about sexuality, gender, and the vexed institutions of marriage and child-rearing. The Argonauts is a genre-bending memoir offering fresh, fierce, and timely thinking about desire, identity, and the limitations and possibilities of love and language, offering a firsthand account of the complexities and joys of (queer) family-making.

The post Maggie Nelson : The Argonauts appeared first on Tin House.

In a war-torn village in Eastern Europe, an American photographer captures a heart-stopping image: a young girl flying toward the lens, fleeing a fiery explosion that has engulfed her home and family. The image wins acclaim and prizes, becoming an icon for millions—and a subject of obsession for one writer, the photographer’s best friend, who has suffered a devastating tragedy of her own. In The Small Backs of Children, Lidia Yuknavitch explores the treacherous, often violent borders between war and sex, love, and art.

“Yuknavitch moves through narratives and structures like a literary banshee seeking a body. Fast, visceral, The Small Backs of Children is a gunshot meditation on art and violence and I couldn’t put it down.”—Vanessa Veselka

The post Lidia Yuknavitch : The Small Backs of Children appeared first on Tin House.

Beloved and critically-acclaimed poet, essayist, and erasure artist, Mary Ruefle talks about her life as an artist, her approach to poetry, the questions she comes back to, and the artists that influence her. Ruefle is the author of ten books of poetry, the collected lectures Madness, Rack & Honey, a book of prose, a comic book, and the erasure A Little White Shadow.

The post Mary Ruefle : An Incarnation of the Now appeared first on Tin House.

A catastrophic event renders the Earth a ticking time bomb. In a feverish race against the inevitable, nations around the globe band together to devise an ambitious plan to ensure the survival of humanity far beyond our atmosphere: in outer space. Only a handful of survivors remain . . . Five thousand years later, their progeny—seven distinct races now three billion strong—embark on yet another audacious journey into the unknown, as they voyage to an alien world utterly transformed by cataclysm and time: Earth. Neal Stephenson combines science, philosophy,  psychology, and literature in a magnificent work of speculative fiction that offers a portrait of a future that is both extraordinary and eerily recognizable.

The post Neal Stephenson : Seveneves appeared first on Tin House.

It is April 1975 and Saigon is in chaos. At his villa, a general of the South Vietnamese army is drinking whiskey and, with the help of his trusted captain, drawing up a list of those who will be given passage aboard the last flights out of the country. The general and his compatriots start a new life in Los Angeles, unaware that one among their number, the captain, is secretly observing and reporting on the group to a higher-up in the Viet Cong. A gripping spy novel, an astute exploration of extreme politics, and a moving love story, The Sympathizer explores a life between two worlds and examines the legacy of the Vietnam War in literature, film, and the wars we fight today.

The post Viet Thanh Nguyen : The Sympathizer appeared first on Tin House.

In Ongoingness, Sarah Manguso confronts a meticulous diary that she has kept for 25 years. “I wanted to end each day with a record of everything that had ever happened,” she explains. But this simple statement belies a terror that she might miss something important. When Manguso became pregnant and had a child, these Copernican events generated an amnesia that put her into a different relationship with the need to document herself amid ongoing time. Ongoingness is a spare, meditative work that stands in stark contrast to the volubility of the diary—a haunting account of mortality and impermanence, of how we struggle to find clarity in the chaos of time that rushes around, over, and through us.

The post Sarah Manguso : Ongoingness appeared first on Tin House.

Kelly Link has been hailed by Michael Chabon as “the most darkly playful voice in American fiction” and by Neil Gaiman as “a national treasure.” Link has won an ardent following for her ability, with each new short story, to take readers deeply into an unforgettable, brilliantly constructed fictional universe. Hurricanes, astronauts, evil twins, bootleggers, Ouija boards, iguanas, The Wizard of Oz, superheroes, the Pyramids . . . These are just some of the talismans of an imagination as capacious and as full of wonder as that of any writer today.

The post Kelly Link : Get in Trouble appeared first on Tin House.

The language of the stars is the language of the body. Like a star, the anorexic burns fuel that isn’t replenished; she is held together by her own gravity. With luminous, lyrical prose, Binary Star is an account of a young woman struggling with anorexia and her long-distance, alcoholic boyfriend. On a road trip circumnavigating the U.S., they stumble into a book on veganarchism and believe they’ve found a direction. Binary Star is a fast-moving saga of two young lovers and the culture that keeps them sick (or at least inundated with quick-fix solutions).

The post Sarah Gerard : Binary Star appeared first on Tin House.

Here is Cheryl, a tightly-wound, vulnerable woman who lives alone, with a perpetual lump in her throat. She is haunted by a baby boy she met when she was six, who sometimes recurs as other people’s babies. Cheryl is also obsessed with Phillip, a philandering board member at the women’s self-defense nonprofit where she works. She believes they’ve been making love for many lifetimes, though they have yet to consummate in this one. When Cheryl’s bosses ask if their twenty-one-year-old daughter, Clee, can move into her house for a little while, Cheryl’s eccentrically ordered world explodes. And yet it is Clee—the selfish, cruel, blond bombshell—who bullies Cheryl into reality and, unexpectedly, provides her the love of a lifetime.

The post Miranda July : The First Bad Man appeared first on Tin House.

Beginning with her experience as a medical actor who was paid to act out symptoms for medical students to diagnose, Leslie Jamison’s visceral and revealing essays ask essential questions about our basic understanding of others: How should we care about each other? How can we feel another’s pain, especially when pain can be assumed, distorted, or performed? Is empathy a tool by which to test or even grade each other? By confronting pain—real and imagined, her own and others—Jamison uncovers a personal and cultural urgency to feel. She draws from her own experiences of illness and bodily injury to engage in an exploration that extends far beyond her life, spanning wide-ranging territory—from poverty tourism to phantom diseases, street violence to reality television, illness to incarceration—in its search for a kind of sight shaped by humility and grace.

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Claudia Rankine, chancellor of the Academy of American Poets, speaks about her much-awaited follow-up to her groundbreaking work Don’t Let Me Be Lonely. A provocative meditation on race (and short-listed for the National Book Award), Citizen: An American Lyric recounts mounting racial aggressions in ongoing encounters in twenty-first century daily life and in the media. Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV—everywhere, all the time. The accumulative stresses come to bear on a person’s ability to speak, perform, and stay alive.

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Where Flynne and her brother, Burton, live, jobs outside the drug business are rare. Fortunately, Burton has his veteran’s benefits, for the neural damage he suffered from implants during his time in the USMC’s elite Haptic Recon force. Then one night Burton has to go out, but there’s a job he’s supposed to do—a job Flynne didn’t know he had. Beta-testing part of a new game, he tells her. The job seems to be simple: work a perimeter around the image of a tower building. Little buglike things turn up. He’s supposed to get in their way, edge them back. That’s all there is to it. He’s offering Flynne a good price to take over for him. What she sees, though, isn’t what Burton told her to expect. It might be a game, but it might also be murder.

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“No one, clearly, has ever told Mitchell that the novel is dead. He writes with a furious intensity and slapped-awake vitality, with a delight in language and all the rabbit holes of experience . . . In his sixth novel, he’s brought together the time-capsule density of his eyes-wide-open adventure in traditional realism with the death-defying ambitions of Cloud Atlas until all borders between pubby England and the machinations of the undead begin to blur . . . Not many novelists could take on plausible Aboriginal speech, imagine a world after climate change has ravaged it, and wonder whether whales suffer from unrequited love . . . Very few [writers] excite the reader about both the visceral world and the visionary one as Mitchell does.”—The New York Times Book Review

The post David Mitchell : The Bone Clocks appeared first on Tin House.

In drought-stricken Portland, Oregon, a Robin Hood-esque water thief is caught on camera redistributing an illegal truckload of water to those in need. Nicknamed Maid Marian—real name: Renee, a twenty-something barista and eternal part-time college student—she is an instant folk hero. Renee rides her swelling popularity and the public’s disgust at how the city has abandoned its people, raises an army . . . and secedes a quarter of the city. Sherwood Nation is the story of the rise and fall of a micronation within a city. It is a love story, a war story, a grand social experiment, a treatise on hacking and remaking government, on freedom and necessity, on individualism and community.

The post Ben Parzybok : Sherwood Nation appeared first on Tin House.

A crisis has swept America. Hundreds of thousands have lost the ability to sleep. Enter the Slumber Corps, an organization that urges healthy dreamers to donate sleep to an insomniac. Under the wealthy and enigmatic Storch brothers, the Corps’ reach has grown, with outposts in every major U.S. city. Trish Edgewater, whose sister Dori was one of the first victims of the lethal insomnia, has spent the past seven years recruiting for the Corps. But Trish’s faith in the organization and in her own motives begins to falter when she is confronted by Baby A, the first universal sleep donor, and the mysterious Donor Y. Sleep Donation explores a world facing the end of sleep as we know it, where “Night Worlds” offer black market remedies to the desperate and sleep deprived, and where even the act of making a gift is not as simple as it appears.

The post Karen Russell : Sleep Donation appeared first on Tin House.

All Our Names is the story of two young men who come of age during an African revolution, drawn from the safe confines of the university campus into the intensifying clamor of the streets outside. But as the line between idealism and violence becomes increasingly blurred, the friends are driven apart—one into the deepest peril, as the movement gathers inexorable force, and the other into the safety of exile in the American Midwest. There, pretending to be an exchange student, he falls in love with a social worker and settles into small-town life. Yet this idyll is inescapably darkened by the secrets of his past: the acts he committed and the work he left unfinished. Most of all, he is haunted by the beloved friend he left behind–the charismatic leader who first guided him to revolution and then sacrificed everything to ensure his freedom.  Writing within the grand tradition of Naipul, Greene, and Achebe, Mengestu gives us a political novel that is also a transfixing portrait of love and grace, of self-determination, of the names we are given and the names we earn.

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It’s 2015 and Patricia Cowan is very old. “Confused today,” read the notes clipped to the end of her bed. She forgets things she should know—what year it is, major events in the lives of her children. But she remembers things that don’t seem possible. She remembers marrying Mark and having four children. And she remembers not marrying Mark and raising three children with Bee instead. She remembers the bomb that killed President Kennedy in 1963, and she remembers Kennedy in 1964, declining to run again after the nuclear exchange that took out Miami and Kiev. Two lives, two worlds, two versions of modern history. Each with their loves and losses, their sorrows and triumphs. Jo Walton’s My Real Children is the tale of both of Patricia Cowan’s lives . . . and of how every life means the entire world.

“It explores issues of choice and chance and destiny and responsibility with the narrative tools that only science fiction affords, but it’s also a deeply poignant, richly imagined book about women’s lives in 20th- and 21st-century England, and, in a broader sense, about the lives of all those who are pushed to the margins of history: the disabled, the disenfranchised, the queer, the lower middle class.”—Publisher’s Weekly, signature review

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An Untamed State is a novel of privilege in the face of crushing poverty, and of the lawless anger that corrupt governments produce. It is the story of a willful woman attempting to find her way back to the person she once was, and of how redemption is found in the most unexpected of places. An Untamed State establishes Roxane Gay as a writer of prodigious, arresting talent.

“Once you start this book, you will not be able to put it down. An Untamed State is a novel of hope intermingled with fear, a book about possibilities mixed with horror and despair. It is written at a pace that will match your racing heart, and while you find yourself shocked, amazed, devastated, you also dare to hope for the best, for all involved.”—Edwidge Danticat

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