Dan Torday talks about his novel, The Last Flight of Poxl West, the role of fear in fiction, the fabrication of facts in a memoir, and about being “constitutionally unoffendable.”
For the Millions, Philip Graham considers how childhood traumas can inspire art. In his exploration, Graham looks to works by John Gardner, Rabih Alameddine, and James Baldwin, authors who confront “psychic…
At Esquire, sci-fi author Jeff VanderMeer and Living Colour guitarist Vernon Reid discuss genre fiction, and how one art form can inspire another. Reid says: Fiction has always evoked pictures and…
Writing for Publishers Weekly, William J. Maxwell examines the 1,884-page FBI file on James Baldwin—the longest on record—as part of his effort to obtain surveillance information on African American authors…
Like an all-night rager in the apartment upstairs or a crying infant on a red-eye, the Super Bowl is one of those ineluctable public occurrences that’s seemingly impossible to stop and difficult to ignore.
Some story collections drop with fireworks and great fanfare, while others make their entrance, it could be said, on tender feet. The latter is the case with the works of…
Combining The Exorcist, New Jersey, and James Baldwin, among other things, Nick Ripatrazone reviews William Giraldi’s new novel, Hold the Dark, at The Millions. He contemplates Giraldi’s place in contemporary…
In an interview with The New Yorker, Graywolf poet Claudia Rankine discusses Ferguson, James Baldwin, and the experience of invisibility: “[T]he sort of execution-style shooting takes [Michael Brown’s shooting] to…
Teju Cole has a long, staggeringly (good, sharp, dynamic, crushing) essay in The New Yorker about rereading James Baldwin’s Stranger In The Village: American racism has many moving parts, and has had…