Fall 2014

An Interview with Kevin Wilson by Rita Bullwinkel

_____Writing, for me, is like making magic without knowing how to do magic.

An Interview with Gish Jen by Katie Young Foster

_____I keep on going until I can’t think of one more thing to write

An Interview with Alex Lemon by Michael E. Woods

_____Look at me! Look how fancy I am, wearing my scarf of entrails.

An Interview with A. Van Jordan by Alicia Brandewie

_____I’m writing about the other, and I’m still writing about myself.

Summer 2014

An Interview with Urvashi Butalia by Rita Bullwinkel

_____We recognize that our feminism is not the only feminism.

An Interview with Eavan Boland by Alicia Brandewie and Sara Strong

_____In poetry, one rule is true: it is the margin that defines the center, never the center that defines the margin.

Spring 2014

An Interview with Edmund White by Maggie Zebracka

_____I went from when I was teenager, thinking I was utterly unique, the strangest person who ever lived
_____to later thinking I was generic, typical, a gay man of my generation, psychoanalyzed and oppressed
_____in the 50s and liberated in the 60s and exalted in the 70s and wiped out in the 80s.

Fall 2013

An Interview with Deborah Eisenberg by Lee Conell

_____Am I really, in my very being, am I a 67-year-old woman whose hair reacts to humidity the way it
_____does? Is that really all? Or am I not also a three-year-old boy?

An Interview with Justin Torres by Claire Jimenez and Laura Birdsall

_____ I want them to live fuller lives. And I want there to be dignity in there, too.

Spring 2013

An Interview with Nikky Finney by Cara Dees

_____I want to save a moment. I want to save what a sunset looks like from seat 8A on a plane.

Fall 2012

An Interview with Alison Hawthorne Deming by Christopher Adamson

_____We’re bearing witness to the time we live in and how it’s different from any other time in history

An Interview with Dan Chaon by Claire Jimenez and Elizabeth Furlow

_____To me the suspense line is like the drum. That’s what holds everything together.

Summer 2012

An Interview with Alicia Ostriker by Melissa Cundieff

_____The writer, the poet, can experience himself/ herself as a vessel the wind of the spirit blows through.

Spring 2012

An Interview with Maile Meloy by Jenna Williams
_____Any way you can get some distance is good.

An Interview with Bonnie Jo Campbell by Jill Schepmann
_____I’m always trying to figure out how to look at physical and psychological disfigurement, and social disconnection.

Summer 2011

An Interview With Jean McGarry by Rebecca Bernard

____Given the deep interiority present in so many of the stories in the collection Ocean State would you ____share a little about your process?

An Interview With Kevin Wilson by Jake Karlsruher

____And once I saw all this amazing stuff that people were writing, and I realized that these people ____were not dead, I wanted to be a part of it.

An Interview With D.A. Powell by Andrew Rahal

____And I guess that I am post-confessional in the sense that the confessional poets are all dead. I am ____living post-them. I’ll concede that. But I don’t see myself as entertaining the same concerns.

An Interview With David Shields by Ethan Milner

____It came about rather indirectly, it’s not as if I decided that I wanted to write a book about ____plagiarism and a book that embodies plagiarism

Spring 2011

An Interview with Anders Nilsen by Matthew Baker

My parents had been in a commune in San Francisco, and before that in the Peace Corps in Ethiopia with some friends. One of them, in his travels, had discovered Tintin and Asterix, and then had his interest in comics bolstered by the underground scene in San Francisco. He had a copy of a cookbook that Crumb illustrated that I found at age six or seven. I remember being fascinated and slightly disturbed.

An Interview with Molly Peacock by Kendra DeColo

I grew up watching films almost exclusively through a male gaze, and I eventually realized that there’s a male gaze in poetry. When I wrote about my sexuality, it was deliberate and joyful, a way to get a female gaze on male bodies. It’s been fun for me to write about naked men, to make a man an art object from a woman’s point of view.

An Interview with Aimee Bender by Claire Burgess

The worry about genre fiction is that because it operates in a kind of formulaic way, the writer will sort of turn out something that is also a formula. But that can happen with literary, realistic fiction, too, and in fact when it does it’s even more dastardly, because it’s sort of like faking something that’s supposed to be elevated.

An Interview with Lydia Peelle by Rebecca Bernard

I think that our place—that is, the people and history, industry, altitude and architecture, flora and fauna, geology and sky of wherever we might happen to find ourselves on a particular morning—greatly influences what we do, the choices we make, the moods we fall in to—in both conscious and subconscious ways.

An Interview with Jericho Brown by Kendra DeColo

What might be different in this book is the question of how people of my own generation feel about me being both black and gay. And when I say ‘me,’ I don’t mean me, obviously. I’m really interested in this other thing you said earlier—what’s the real Jericho Brown?

Fall 2010

An Interview with Jesse Ball by Matthew Baker

Oh, the exercises are many and intricate. One mustn’t say too much about them, of course. Suffice it to say, they are practical exercises, dealing with conditions of truth and untruth in the relations between the student and his/her friends, relations and acquaintances.

An Interview with Edward Hirsch by Zachary Greenberg

When I started writing poetry, if you had told me I was going to write about sports, I would’ve told you that you were out of your mind.  I was playing sports all the time, but I wanted to write about Paul Klee, about going to the Art Institute of Chicago and discovering Edward Hopper.

Summer 2010

An Interview with D. A. Powell by Andrew Rahal

But… I am all boy, though, you know? I like to set firecrackers off.

An Interview with Glenn Patterson by Claire Burgess

So everything about that story was predictable: getting picked up and put in the back of a police car—you can imagine what might have happened in there, what I was afraid would happen in there—and in the end the police asking me to read my poems. They found my notebook of poems, and they looked through it and asked me to read them, and they clapped and said they weren’t sure what they meant, but they sounded quite nice.

An Interview with Steep Canyon Rangers by Zachary Greenberg

It’s a windy day, and we’re on stage in front of the biggest crowd of our life. You can’t see the back of the audience—it seems to go on forever.

An Interview with Jaime Zollars by Matthew Baker

My final critique in environmental design was by far the worst I’ve ever experienced. The instructor and the guest critic hated everything I had done. I believe their exact words were, “I really hate this, and see no redeeming qualities in it.” Then they decided they would tell me all of the specific things they hated about it and why.

Spring 2010

An Interview with Salvador Plascencia by Matthew Baker

“I’ll be the first to admit that the level of discourse has at times resembled the type of smack you would hear in a junior high cafeteria. And I’m not beyond slumping to it here.”

An Interview with Maira Kalman by Matthew Baker

“There are procrastination rituals.  Washing the dishes.  Etc.  But I think of those acts as clearing the mind while water is running.  Like working near a stream.”

An Interview with Beth Bachmann by Kendra DeColo

“There is something to be said for imminent danger and the threat of dog-on-dog violence.  Things wild, things bred.”

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