John W. Evans talks about his memoir Young Widower, which was partly borne from two Rumpus essays, and how to make meaning of something—especially grief and loss—if not through narrative.
In light of this history that Vann has uncovered, in light of more recent tragedies, the questions remain, as then, the same: How did this happen? What might we learn from this?
Jennifer Vanderbes discusses her latest novel, The Secret of Raven Point, the role of women in military history, and focusing on figures not commonly foregrounded in war literature.
Wanting to understand my life, I... began to write about objects—a watch, a piano, a little black dress; a spoon, a chandelier, a breakfront; a kite, two guitars, an imaginary letter.
There’s a window, but no tree. Just the next building, identical blinds. I’ve done a fair amount of writing here, I guess. Assembled at least one book. But again, I can’t picture it, can’t imagine being comfortable in this space. When I write at home, I know I don’t have long. Something will intrude or distract.
We view women’s sexual journeys different from men’s sexual journeys, particularly because we still have a hard time seeing women as sexual agents. In Nymphomaniac we see a woman who is in clear pursuit of sexual pleasure.
Writer Zachary Lazar chats about his newest novel, I Pity The Poor Immigrant, as well as following trails, writing books that are “accidentally Jewish,” and the benefits of becoming a crime writer.