Editor’s note: The following text is an edited transcription of a longer conversation conducted over Zoom, available in full below. Joan Cambridge-Mayfield reads “Guava Season in Exxon Guyana’s Cash-Grant Line” (Volume 67, issue 2) from 39:38–41:50, and Jeremy Jacob Peretz reads Grace Nichols’s “Blackout” (Volume 35, issue 3/4) from 43:50– 46:11. Tell . . .
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Editor’s note: The text here is an edited transcription of a larger conversation conducted over Zoom, which appears in full below. Waters reads her poem “—And Also Sex” (Volume 67, issue 2) from 11:40–13:19. Tell us about yourself and your relationship to writing. What do you normally write about? What do I . . .
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Tell us about your relationship to writing: How it began, and where it’s headed. I’m going to be very literal about this because this is a big question. For me writing started in kindergarten. We had a great teacher—we called her “Lupita”—who taught us how to read and write with the poetry . . .
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Editor’s note: The text here is an edited transcription of a larger conversation conducted over Zoom, which appears in full below. Melpignano reads her translations of Leonardo Tonini’s poems “6.” from [25:52 – 26:27] and “12.” from [28:16 – 28:40]. Music credit to Nicholaas Stulting, “Everyday.” Introduce yourself, your relationship to writing . . .
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Who have been the most influential writers in your life? The most influential stories/collections? What’s been inspiring you lately?Lately, I have been running more consistently. This is really my cordoned off time, where all I have are my body, my thoughts, and no obligations to others. After graduate school when I began . . .
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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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