Granta | The Magazine of New Writing

Explore interviews

Filter

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.’

Turkish Granta | Interview

Berrak Gocer & Ted Hodgkinson

‘The writings, when they came together, made it very clear that there will always be a new approach to the issue of identity.’

Karen Russell | Interview

Karen Russell & Patrick Ryan

‘I think it’s impossible to draw a hard and fast line between reality and fantasy.’

Louis de Bernières | Interview

Anita Sethi

‘At four o’clock in the morning, when Louis de Bernières has lines of poetry repeating in his head which won’t stop gnawing away, he writes them down.‘

Julie Klam | Interview

Julie Klam & Marian Brown

‘I’m successful? I can’t wait to call my mother!’

Anthony Doerr | Interview

Anthony Doerr & Patrick Ryan

‘The natural world is full of records and erasures.’

Justin Torres | Interview

Justin Torres & Jennifer de Leon

‘I wanted to write a book about a family so complicated, so in love, and so flawed, that folks would resist easy categories.’

David Peace and Kyoko Nakajima in Conversation

Kyoko Nakajima & David Peace

‘When we talk about history, the dangers of embellishment, fabrication and wilful distortion are ever-present’

Dinaw Mengestu | Interview

Dinaw Mengestu

Dinaw Mengestu talks about how he came to write ‘Big Money’, his contribution to Granta 108, his forthcoming novel, his relationship with his hometown, Chicago, and his inspiration as a writer.

Ann Patchett | Interview

Ann Patchett & Patrick Ryan

‘I grew up in an environment where there was nothing weird about limitless friendship.’

Nathan Englander | Interview

Nathan Englander & Ted Hodgkinson

‘I don’t want to write any story that I think can be written.’

Chloe Aridjis | Interview

Chloe Aridjis & Ted Hodgkinson

‘What really struck me was the way the Suffragettes were pathologized, and the way women who took a political stance were deemed ‘hysterical’ in some way.’

Jonathan Raban | Interview

Jonathan Raban & Helen Gordon

‘The term ‘man of letters’ now seems hopelessly archaic, but I’d like to think there’s still life left in the notion of the writer who’s just a writer.’

Jonathan Safran Foer | Interview

Jonathan Safran Foer & Ollie Brock

‘This is the sort of book I wanted to read, wanted to have, regretted not having.’

Patrick deWitt | Interview

Patrick deWitt & Ted Hodgkinson

‘Names are always hard to come by for me, which can be maddening, because it’s an ever-looming question mark when I’m trying to bring a character into focus. And oftentimes it’s the name that solidifies someone in my mind.’

Léonie Hampton | Interview

Léonie Hampton & Yuka Igarashi

‘I see a dichotomy at play where I am trying to be truthful, but it’s hard to be direct.’

The Man from Hiroshima

Maurizio Chierici

‘Then the explosion stunned me momentarily. Hiroshima disappeared under a yellow cloud. No one spoke after that.’

Uwem Akpan | Interview

Uwem Akpan & Jeremiah Chamberlin

‘I just wanted to say something about how decent people struggle in difficult situations.’

Gary Shteyngart | Interview

Gary Shteyngart & Emily Greenhouse

‘I can’t even afford to have thoughts on London, much less live or visit there.’

Owen Freeman | Interview

Owen Freeman & Daniela Silva

‘As illustrators, our first and last service is to bring the readers’ eyes to the author’s work.’

Howard Goldblatt | Interview

Howard Goldblatt & Sophia Efthimiatou

‘Humour, jokes, puns – those are indeed untranslatable.’

Motoyuki Shibata | Interview

Motoyuki Shibata & Fran Bigman

‘I always think the borderline between reality and non-reality, or fantasy, is much thinner in Japanese fiction than in American or British fiction.’

Peter Carey | Interview

Peter Carey

Peter Carey on Alexis de Tocqueville, writing fiction and the inspiration for his forthcoming novel.

Mo Yan | Interview

Mo Yan & John Freeman

‘My life is more current, more contemporary and the cutting throat cruelty of our contemporary times limits the romance that I once felt.’

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.’

Evan James Roskos | Interview

Evan James Roskos & Roy Robins

‘There is a view of American men presented by the media – of men as boorish, insensitive, emotionally immature – that manages to underscore various stereotypes that I feel fiction and poetry have a duty to dismantle.’

Catherine Chung | Interview

Catherine Chung & Ollie Brock

‘I think my interest in mathematics was that of a writer: I was always trying to translate it back into a story.’

Hari Kunzru | Interview

Hari Kunzru & Ted Hodgkinson

‘It was interesting to me how readily UFOs can be mapped onto a spiritualism, Madame Blavatsky and so on.’

Marcelo Ferroni | Interview

Marcelo Ferroni

‘This is an exciting moment for Brazilian literature. We may see a batch of new, vibrant novels, really soon.’

Bruce Chatwin | Interview

Bruce Chatwin & Michael Ignatieff

‘We have everything here, but I always wish I was somewhere else. It's a condition that makes one very difficult to live with.’

Daniel Alarcón | Interview

Daniel Alarcón & Helen Gordon

‘The strangest parts of a story are not necessarily the fictional elements.’

The National Language

Uzma Aslam Khan & Aamer Hussein

‘It gives me two languages to play with in my writing. It also gives me two languages to love and curse in.’

Peter Orner | Interview

Peter Orner & Ted Hodgkinson

‘For me the strange moments that make up our lives are plot.’

Granta Norway | Interview

Trude Rønnestad & Ted Hodgkinson

‘To an extent I have tried to make the issue span the full spectrum of Norwegian literature.’

Edwidge Danticat | Interview

Edwidge Danticat & Ellah Allfrey

‘I am a writer who is shaped by everything that I have experienced and loved, including Haiti.’

Jennifer Egan | Interview

Jennifer Egan & Yuka Igarashi

‘It wasn’t an experiment so much as a response to the need to find a way to embody the oddly shaped story I wanted to tell.’