‘I think in the beginning it was a crisis. I started to write because I felt the need to fit in, and not be an outsider… I have felt bound to an outsideness and an otherness.’
Image by Kristianstads kommun
Lina Wolff on Dante, the artistic temperament and the tension she feels between a ‘Spanishness’ and ‘Swedishness’ when writing.
‘I think in the beginning it was a crisis. I started to write because I felt the need to fit in, and not be an outsider… I have felt bound to an outsideness and an otherness.’
Image by Kristianstads kommun
‘I alone know a running stream
that is recovery partly and dim sweat
of a day-fever’
A poem by Rowan Evans.
‘Humour is a thread we hang onto. It punctures through the fog of guilt.’
Momtaza Mehri in conversation with Warsan Shire.
‘Something shifted in me that night. A small voice in my head said, maybe you can make a way for yourself as a poet here, too.’
Mary Jean Chan in conversation with Andrew McMillan.
‘There was to be an exhibition. There were lots of pictures like his, apparently – of waiters, pastry cooks, valets, bellboys.’
An essay by Jason Allen-Paisant from Granta 159: What Do You See?
‘I have started to see that nothing is itself’
A poem by Jason Allen-Paisant from Granta 154: I’ve Been Away for a While.
Lina Wolff’s debut novel, Bret Easton Ellis and the Other Dogs, published by And Other Stories in 2016, was awarded the Oxford-Weidenfeld Translation Prize, Sweden’s Vi Magazine Literature Prize, and was shortlisted for the 2013 Swedish Radio Award for Best Novel of the Year. Her second novel, The Polyglot Lovers, won Sweden’s biggest domestic literary prize, the August Prize, as well as the Svenska Dagbladet Prize, and has been translated into eighteen languages. A collection of short stories is forthcoming from And Other Stories in 2020.
More about the author →Saskia Vogel is a writer and translator from Los Angeles, now living in Berlin. Her debut novel Permission was published in five languages. The Swedish edition was translated by Johanne Lykke Holm. Vogel has translated over twenty fiction, poetry, and non-fiction titles from Swedish into English, including works by Linnea Axelsson, Johanne Lykke Holm, Balsam Karam, Karolina Ramqvist, Steve Sem-Sandberg, Lina Wolff and Jessica Schiefauer, whose Girls Lost was a finalist for the PEN Translation Prize. Her translation of Johannes Anyuru’s They Will Drown in Their Mothers’ Tears won the Firecracker Award for fiction. Vogel’s writing has been awarded the Berlin Senate Endowment for Non-German Literature and longlisted for the Believer Book Award and the Pushcart Prize. She was Princeton University’s Fall 2022 Translator in Residence. You can read her work in the New Yorker, LitHub, the New York Times, the White Review, the Offing, Elsewhere and elsewhere. Photograph © Fette Sans
More about the author →‘When we were sixteen years old, I broke Johnny’s nose with the back of my hand.’
‘No one here is normal except you, and you’re not even from Spain.’
‘Oline Stig doesn’t blindly obey the narrow logic of the dramatic curve, and she lets the story branch where it is necessary. The end is surprising and, so to say, out of tune in a liberating way.’
‘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.
‘When and where does the crisis of war begin and end?’
Y-Dang Troeung on the longevity of war.
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