Continue reading “Essential Identities: An Interview with Fowzia Karimi”
Tag: Interview
Tree People or Sea People: An Interview with Wendy Walker
Editor’s Note: Wendy Walker has appeared twice so far in my column Invisible Books. I first covered her debut collection of short stories, The Sea-Rabbit (Sun & Moon Press, 1987), then I reviewed her novel The Secret Service (Sun & Moon Press, 1992). I’ve now had the pleasure of corresponding with Wendy, so please enjoy this interview with a true talent and a delightful person. All of the accompanying art is by Wendy Walker. The featured photo above is by Wendy Walker and Tom La Farge.
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Intelligent Seasoning: An Interview with Chris Via of Leaf by Leaf
George Salis: You have a wonderful book vlogging channel on YouTube called Leaf by Leaf. How did it come about? I was there pretty much at the beginning. The first video of yours I watched was about Jim Gauer’s Novel Explosives and in that one you’re not in front of the camera. Did the notion of putting yourself out there prove to be a bit of a hurdle?
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Giants in the Earth: An Interview with Steven Moore
Editor’s note: In September of this year, Steven Moore’s new book, Alexander Theroux: A Fan’s Notes, will be released by Zerogram Press. Among other things, I hope this interview whets your appetite for Theroux’s books and that you spend a healthy part of the year reading or rereading him in preparation for Moore’s book. Here is a description of Alexander Theroux: A Fan’s Notes: “Since the publication of his first novel in 1972, Alexander Theroux has won great acclaim for his dazzling style and forceful intellect. That first novel, Three Wogs, was named Book of the Year by Encyclopedia Britannica, and his second, Darconville’s Cat, was nominated for the National Book Award. Since then he has gone on to publish 20 more books and has been the subject of several interviews and academic studies. This is the first book-length study of Theroux’s complete body of work-novels, fables and short stories, nonfiction books, poetry, journalism-concluding with a chapter on his contentious relationship with his best-selling brother Paul Theroux. Critic Steven Moore, who has known Theroux for nearly forty years and helped with the publication of some of his books, illuminates Theroux work in a scholarly yet accessible style. While appreciative of most of what Theroux has written, Moore doesn’t shirk from what he regards as some of his weaker efforts in order to provide a balanced evaluation of this unique writer. Moore’s book will appeal to Theroux’s fan base as well as to students of modern American literature”
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One Thousand and None Nights: An Interview with Rhys Hughes
George Salis: You’ve been working on an ambitious project, a 1000 story cycle titled Pandora’s Bluff that you’ve nearly finished. What can you tell me about it? It’s one story less than the Arabian Nights. Do the Nights have any influence on this project?
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Devious Rock ‘n’ Roll Ditties: An Interview with Bori Praper
George Salis: What was the impetus for your upcoming novel Cynicism Management?
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Kangaroo in a Dinner Jacket: An Interview with L.S. Popovich
George Salis: What was the initial shiver of inspiration behind your upcoming novel Undertones?
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Pushing the Brain Deeper: An Interview with Jim Meirose
George Salis: What was the impetus for your new novel Le Overgivers au Club de la Résurrection?
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STEAM Not STEM: An Interview with Mad Scientist Journal
About Mad Scientist Journal: Though initially established in 1818, time travel has allowed Mad Scientist Journal to become the preeminent scientific journal for atypical scientific theories and journeys throughout all of space and time. Or maybe that’s not actually true. Perhaps it is more accurate to describe it as a mad-scientist-themed zine established in 2011 whose last issue will come out in the beginning of 2020.
George Salis: What is the origin story of Mad Scientist Journal?
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Between Awake and Dead Asleep: An Interview with Kaleigh Dandeneau
George Salis: Your poetry collection, Something Akin To, recently came out through Dink Press. Why did you choose to leave your individual poems in the collection untitled?
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