For Uri Felix Rosenheim with gratitude
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‘How to explain this resolve to write, this firm unwavering intent to become a writer on the part of someone who may not even really care for books?’
For Uri Felix Rosenheim with gratitude
Sign in to Granta.com.
‘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.
Walter Abish was born in Vienna in 1931, moving to America in 1957. Since 1970, he has published six books, including Alphabetical Africa (1974) and How German Is It? (1980) which won the PEN/Faulkner Award in 1981 (both books are published by New Directions). Abish then served on the board of International PEN from 1982-1988, and currently serves as a fellow for American Academy of Arts and Sciences. His most recent work, a memoir entitled Double Vision: A Self Portrait, was published in 2004.
More about the author →‘It took him only a moment to eliminate all doubt. The opportunity was ripe.’
‘I believe in the harmony of my friendship to Gisela rather than in the binding force that the institution of marriage is said to represent.’
‘How far can one deviate from the accepted pieties before one is kicked out?’
Brandon Taylor on naturalism and the future of fiction.
‘It occurs to me then that he has not invited me for dinner, but my alter ego from the page.’
Tabitha Lasley on writing and dating.
‘What strikes me most, though, is how writers and climbers share an appetite for failure.’
Natasha Calder on bouldering.
‘The strangest parts of a story are not necessarily the fictional elements.’
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