Image: detail from illustration by Tomer Hanuka in Granta 122: Betrayal
André Aciman reads from the work and speaks to Granta’s Yuka Igarashi about the story, the problem with unreliable narrators and modern poetry, and why self-deception and betrayal are good subjects for fiction.
Image: detail from illustration by Tomer Hanuka in Granta 122: Betrayal
‘We meet at various points in the great swathes of the past that neither of us were alive to witness.’
Allen Bratton on a daytrip to a castle with his older boyfriend.
‘Listening to three white poets, whom I suspect are academics, talk about the state of poetry.’
Oluwaseun Olayiwola eavesdrops on an older generation.
‘I’d been dubious about his company at first.’
Sarah Moss on watching Shakespeare with her twelve-year-old son.
‘She didn’t trust us because, to her, tenants were like children.’
Kate Zambreno on negotiating with her older landlady.
‘A moment now swallowed in embarrassment, I asked a question only a young person might ask an older one.’
Lynne Tillman on trying to understand what makes a generation.
André Aciman is Distinguished Professor of Comparative Literature at the Graduate Center, CUNY. He is the author of the memoir Out of Egypt and four novels: Call Me by Your Name, Eight White Nights, Harvard Square and Enigma Variations. He is currently working on a novel tentatively titled Youth and a collection of essays, Homo Irrealis.
More about the author →Yuka Igarashi is the former managing editor at Granta and was issue editor of Granta 127: Japan. She has taught fiction writing at various universities including Columbia and Parsons The New School for Design in New York.
More about the author →‘I think of betrayal as a crack in the veneer of humanity, an act that reveals to us, and others, our base animal nature.’
‘Your problem is not that you misread signs; it’s that you see them everywhere.’
Two poems by Fiona Benson, whose Vertigo & Ghost is shortlisted for the Rathbones Folio Prize 2020.
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