Crew, at “her tree” on the farm, after her dad’s death. I’m interested in how “Feast: Fruits of the Land” came to exist. How did you decide on the format (namely: the altered sonnet structure, and the beginnings of passages picking up the preceding last lines)? This piece is one “course” of . . .
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Editor’s note: When invited to participate in our interview series, Mathew Magro-Fry (author of “The Missing Pieces” from our Summer 2026 issue) offered to write a creative nonfiction piece on the relationship between roadtrips and his writing process: Just off the freeway between Palm Springs and San Bernardino, a Brontosaurus and a . . .
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Tell us about your relationship to writing. My relationship to writing began by being a voracious reader. I had a pivotal fourth grade teacher who instilled in me a practice of continuously engaging with books and reflecting on them after completion by submitting book reports. That same teacher also gave her students . . .
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This is an edited transcription of a larger recorded conversation between Kelsi Vanada and Emilio Jurado Naón, available in full below. Vanada is the translator, and Naón the author, of the novel Agustina Paz, an excerpt of which is featured in our Summer 2026 issue. Readings from the novel excerpt happen in . . .
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Describe the first time you translated from another language. Where were you? What sounds or smells or sights do you remember? Do you remember anything happening to you in that moment? In preschool I could write my cursive well so my teachers would prompt me randomly to the page like a wind-up . . .
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An excerpt of “Geographical Histories of Centralia, Kansas,” written and read by Jodi Cressman.The full piece appears in our Summer 2026 issue. Tell us about your relationship to writing. For most of my professional life, I was an academic writer composing scholarly essays for a narrow audience of contemporary literature subspecialists. Then, . . .
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Photo credit: Sarah Deragon Note: This is an edited transcription of an interview conducted over Zoom. The full interview, featuring more in-depth answers and back-and-forths, is available below. Gunawan reads the poem “Go Back Home” from 14:45–16:25. Tell us about your relationship to translation. My God, where do I start? I feel like . . .
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Tell us about your relationship to writing.I started keeping a journal in my early twenties as a way of organizing my thoughts. Before that I didn’t write much and I never considered myself a very literary person. When I was 27, I took a poetry workshop at City College of San Francisco . . .
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Photo credit: Eloi Scarva Note: This is an edited transcription of an interview conducted over Zoom. The full interview, featuring more in-depth answers and back-and-forths, is available below. Gómez reads his poem “Fillers” from 11:06–13:17. Tell us about your relationship to writing, especially poetry. It was a very, very long shot for me . . .
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“Who needs it? Eyes rolled back, hand planted thickin lemon cake. Sure. Let’s call it lemoncake. She hives and dissolves, an unearthing…” —from Shira Erlichman’s “Nude IV” (Volume 67, issue 1) What’s been inspiring you recently? The On the Calculation of Volume series by Solvej Balle. Reading the first novel was a . . .
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