Karan Mahajan, author of “The Complex,” on risks in fiction, reinventing genre, and writing what you want to learn about
As they shed the Tin House Workshop name, Executive Director Lance Cleland discusses the values that remain at the organization's core
Beneath a murder mystery, T Kira Madden forges a story of survival and resilience
In “All the World Can Hold,” Jung Yun positions the cruise ship as a locus of performance, family, and unexpected trauma
Jan Saenz, Lisa Lee, and Albertine Clarke on fiction’s refractions and reminiscences
Essayist-cum-novelist Melissa Faliveno on writing addiction and desire with tenderness and teeth
In “Let the Poets Govern,” Camonghne Felix considers fugitivity, political responsibility, and poetic form as a blueprint for resistance
Jordy Rosenberg’s “Night Night Fawn” is a Marxist, trans, hysterical accounting of a terminally ill Jewish mother unrepentantly looking back on her life
Kelsey L. Smoot’s debut poetry collection “SOULMATE AS A VERB” asks what it looks like to insist upon love as a deliberate choice
Bret Anthony Johnston on Corpus Christi, Texas, returning to the short story in “Encounters With Unexpected Animals,” and the infinite similarities between writing and skateboarding
Larissa Pham on titles, the implications of the quotation mark, and the ways art imitates life in her debut novel, “Discipline”
Debut author of “Maybe the Body” Asa Drake on moving to Florida, the desire undergirding anxiety, and reading aloud to an unwilling rabbit
Thank You!
