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Don DeLillo | Interview
Don DeLillo & Yuka Igarashi
‘The stories are representative of one slice of mind. The novels are mind, body, day and night, and what I ate for lunch.’
Edmund White | Interview
Edmund White & Patrick Ryan
‘Although I was trying for the big-city and suburban realism of Yates, I didn’t mind adding a bit of fairy dust in the dialogue.’
Edwidge Danticat | Interview
Edwidge Danticat & Ellah Allfrey
‘I am a writer who is shaped by everything that I have experienced and loved, including Haiti.’
Eleanor Catton | Interview
Eleanor Catton
Eleanor Catton, author of the critically acclaimed, Betty Trask-award-winning debut novel, The Rehearsal, talks to Granta.
Elias Khoury | Interview
Sophia Efthimiatou & Elias Khoury
‘As the reader follows her in and out of consciousness, her history unravels and entwines with religious and social myths, and Lebanese folklore.’
Eliza Robertson | Interview
Eliza Robertson
‘I suppose if something moves me to write, I don't question it.’
Elizabeth McCracken | Interview
Elizabeth McCracken
‘This week John Freeman spoke to Best Young American Novelist Elizabeth McCracken about her works-in-progress, a novel that broke up into six short stories, and her contribution to Granta’s latest issue.’
Ellen Bryant Voigt | Interview
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.’
Emily Berry | Interview
Emily Berry & Rachael Allen
‘I’m not even very comfortable being defined as a female poet. You never hear about ‘male poets’.’
Emma Cline | Granta’s Best of Young American Novelists
Emma Cline & Luke Neima
‘I really like the artificiality of fiction, even though it’s often embarrassing and clumsy to create something out of thin air’
Emma Martin | Interview
Emma Martin
‘I’ve occasionally caught a kind of self-consciousness stalking me when I write about New Zealand.’
Eric Anderson and Sean Borodale In Conversation
Eric Anderson & Sean Borodale
‘The incendiary elements that start my poems are often something I find shocking, but hopefully not gratuitous.’