‘Usually my wife makes fun of me.’
Binyavanga Wainaina talks to Ellah Allfrey about meeting the expectations of an African readership and what to do with a bad review.
‘Mine is not a vocation, it's a mission.’
‘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.’
‘The modern novel can’t sidestep or ignore the idea of evil on an industrial level’
‘It’s the barrel that rots the apples.’ Leslee Udwin talks to Sonia Faleiro about her film India's Daughter.
‘I think that the metaphor of bodily failure is a very apt one to reflect the feeling of weakness and despondency palpable today within the Italian society.’
Jenni Fagan speaks with Ellah Alfrey about the care system, her days in a band and how a library van nurtured her love of reading.
‘Fixing the rhythm of one sentence in the novel I’m working on is more vital for me than any considerations of where I’m coming from or where my work is headed.’
‘I wanted to be sure to approach their resistance to Nnenna’s homosexuality from a practical perspective – one of fear, rather than one of hate.’
‘The question of whether or not I’m addressing America in my writing only comes up with people outside of America.’
‘Sometimes all a story needs is an interesting, clearly defined confusion.’
‘The bewilderment was productive, and relit a good fire under my instinct, which I didn’t have to conflate with certainty.’
‘I suppose it’s that word hyper that I was after: I was trying to find a form for a kind of hyper energy or anxiety.’
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