Charles Simic & Rachael Allen

Charles Simic is one of today's most prolific poets. He speaks with poetry editor Rachael Allen about poetic movements, simple dishes and tragicomedy.

Robert Macfarlane & Rachael Allen

‘When you're dealing with a geological context, its age exceeds your knowing, exceeds your comprehension. Deep time is dizzying and vertiginous.’

Tao Lin & Yuka Igarashi

Yuka Igarashi talks to Tao Lin about sense of place within the novel Taipei, his online presence and abstraction and metaphor in his writing.

Lina Wolff & Saskia Vogel

Lina Wolff on Dante, the artistic temperament and the tension she feels between a ‘Spanishness’ and ‘Swedishness’ when writing.

Eleanor Catton & Anne Meadows

Anne Meadows talks to Eleanor Catton about opium and gold, whether a good author can also be a sadist and what it means to be a New Zealand writer today.

Juan Pablo Villalobos & Rachael Allen

Juan Pablo Villalobos on class struggle in Mexico, parodying Mexican identity and the difficulty of translation.

Ellen Bryant Voigt & Rachael Allen

‘I don’t think of music and narrative as being mutually exclusive – some of my poems ARE narrative, and are as ‘sound-driven’ as the lyrics.’

Helen Mort & Rachael Allen

‘I think there’s something seductive and liberating about the way you can create shadowy characters in a poem.’

Rattawut Lapcharoensap & Yuka Igarashi

‘Sometimes all a story needs is an interesting, clearly defined confusion.’

Romesh Gunesekera & Ka Bradley

‘The past has never been as present as it is now in the world. But at the same time, all over the world, the determination to manipulate what we know has also never been stronger.’

Laurence Hamburger & Rachael Allen

Lindsey Hilsum & Rachael Allen

Lindsey Hilsum on Libya, her time in Rwanda and how countries can repair in the aftermath of war.

Tan Twan Eng & John Freeman

Tan Twan Eng speaks to Granta’s John Freeman about the art of shakkei and being shortlisted for the Man Booker Prize.

A.M. Homes & Yuka Igarashi

‘I don’t want to make suffering a positive (or negative); I very much want to acknowledge it without judgment.’