Scratch, a collection of interviews and essays from writers spanning the gamut of genre, commercial success, race, gender, and class, boasts pieces from Alexander Chee, Roxane Gay, Yiyun Li, Porochista Khakpour, and Jonathan Franzen. Topics range from the gritty details of checks and debts to a philosophical pondering of
In 1986, at the age of twenty, without saying goodbye to anybody (and ignoring the Tao’s declaration that, “the truly kind leave no one”), Knight entered the woods of central Maine and never looked back.
Abandon me. The title is a straight-faced challenge. To her lover who she fears will. To two fathers who already have. To the reader who’s embarking on this story with her. Abandon me. Do the worst thing to me I can imagine. And I will save myself with story.
In her expanded essay Tell Me How It Ends: An Essay in Forty Questions, Luiselli outlines the intake form for undocumented minors. The procedure, on paper, is simple: Luiselli presents the questions, the children speak, and Luiselli transcribes their answers in English for the lawyers who will fight to
The political and cultural moment of SOUTH AND WEST's release could not have been foreseen, but through her narrative disappearing act, Didion leaves us to make sense of what we read to find its central purpose.
Patrick Phillips is the author of Blood at the Root: A Racial Cleansing in America. Published last September, the book chronicles the racial history of Forsyth County, Georgia, going back to the Civil War and ending with it being fully cemented as an Atlanta suburb today.
In the Great Green Room is an eminently readable biography. The book sheds light on Brown’s creative process and unlikely sources of inspiration. Gary sheds new light on how Goodnight Moon was made, and in doing so we appreciate it even more.
Sharply written, these intimate and insightful exchanges dispel the myth that perhaps we all, writers or not, have come to believe about our own narratives, our own lives: “The worst story that we can tell ourselves is that we are alone.”
In Thank You for Being Late: An Optimist's Guide to Thriving in the Age of Accelerations, Thomas L. Friedman’s title hints at a need for what we're losing in today's world. Namely, all the imperfections that make us human. After all, being late and being wrong is what being
Ervick’s un-biography gives us a historical tale that translates into a contemporary one: how women can take possession of their fates, write their stories as they see fit, even when living under the iron fist of societal pressures or men afraid of female power.