Before I could go back to the Philippines in real life, I did so on paper, through my first novel.
‘Wanting privacy in a police state was sheer stupidity’—to tell the stories of her family in China without the threat of censorship, Yang Huang had to look beyond Mandarin.
To get free, to tell the truth, sometimes requires new language that might not fit through that narrow channel of the dominant culture.
‘Imagination can make things more real than they would be if they were just reported from real life’—the author of In the Country speaks on writing stories of south-south migration and when not to be faithful to a map.
An imaginary setting gave me, a child of immigrants, the authority to write about belonging unquestionably to one’s surroundings
In an excerpt from a forthcoming book, English professor Min Song reflects on undergraduate “Great Books” courses, the Helen Vendler-Rita Dove debate, and the first time he read a Siu Sin Far story.
Emma Straub, author of Laura Lamont’s Life in Pictures, on why a feline companion might make you a better writer.
Advice from Catherine Chung, a fiction editor at Guernica and author of Forgotten Country.
Whiting Award-winner Alexander Chee on post-its, the virtues of retyping, and committing to the process.
The journalist and debut fiction writer chats with fellow Grantland writer Hua Hsu about his new neo-noir novel, grading papers, and Duck Down videos.
Our mystery veteran agents answer your questions about the book industry.
Kitamura chats with Hermione Hoby about her new novel, a “collage of colonialism.”