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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Note: This is an edited transcription of a longer interview, which is available in full here (music by Nicolaas Stulting): Tell us about your relationship to translation, especially between Russian + English. I’ve always been a massive reader and lover of language and words. And once I had even the smallest foothold . . .
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Editor’s note: Upon being invited to participate in our interview series, Morteza Dehghani, translator of Souri Ahmadlou’s poems “2.” and “3.” from Volume 67.1, offered to write the following experimental piece “about the art of translation,” centralized around the questions of what attracts him to a piece, why he translates, and what . . .
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