Patrick Ryan
Patrick Ryan is the author of Send Me, Saints of Augustine, In Mike We Trust and Gemini Bites. His work has been included in The Best American Short Stories 2006, Tin House, The Yale Review and elsewhere. He lives in New York City.
Patrick Ryan on Granta.com
In Conversation | The Online Edition
Karen Russell | Interview
Karen Russell & Patrick Ryan
‘I think it’s impossible to draw a hard and fast line between reality and fantasy.’
Essays & Memoir | The Online Edition
Madison, Mon Amour
Patrick Ryan
‘I left the office just in time to get to Penn Station, find my track and hop onto my train. We pulled out into an afternoon grey and heavy with rain.’
In Conversation | The Online Edition
Julie Otsuka | Interview
Julie Otsuka & Patrick Ryan
‘Using the ‘we’ voice allowed me to tell a much larger story than I would have been able to tell otherwise.’
Essays & Memoir | The Online Edition
Not Easy to Tell
Patrick Ryan
‘I told him he looked like an assassin in an Elmore Leonard novel, and he smiled.’
Essays & Memoir | The Online Edition
Grand Mal
Patrick Ryan
‘And this is what very few novels or movies have ever gotten right about amnesia: it’s not exotic; it’s horrific and sad-making. I was sad because I had no story.’
In Conversation | The Online Edition
Edmund White | Interview
Edmund White & Patrick Ryan
‘Although I was trying for the big-city and suburban realism of Yates, I didn’t mind adding a bit of fairy dust in the dialogue.’
In Conversation | The Online Edition
Catherine Chung | Interview
Catherine Chung & Patrick Ryan
‘I think that my appreciation of what’s considered beautiful or elegant in math definitely carried over into what I appreciate in other fields as well. ’
In Conversation | The Online Edition
David McConnell | Interview
David McConnell & Patrick Ryan
‘These were deranged acts but they were ultimately based on something that’s historically been treated as a social good, the sense of personal honour.’
In Conversation | Issue 81
Andrew O’Hagan | Interview
Andrew O’Hagan & Patrick Ryan
‘A lot of journalism was in danger of becoming ‘celebrity writing’, in the sense that the writer and his conscience could become the story.’