Alison Moore spoke to John Freeman about the experience of being shortlisted for the Man Booker Prize, why her characters often find themselves enclosed in a memory and writing short.
The Lighthouse by Alison Moore is published by Salt.
Photograph courtesy of Alison Moore
‘The slutty ingenuity of vegetables when it comes to desire and reproductive methods is a marvel.’
Rebecca May Johnson negotiates allotment culture.
‘Globalisation is incomplete: money can go anywhere, but laws cannot.’
Oliver Bullough on one of Britain’s most contested outposts: the British Virgin Islands.
‘You discover during your very first lessons that the problem of singing better involves overcoming many other problems you had not ever imagined.’
A new story from Lydia Davis.
‘She began to count; it was easier this way, counting, because she would not have to remember how she felt.’
An excerpt from Ukamaka Olisakwe’s Ogadinma.
‘Like any desert, I learn myself by what’s desired of me—
and I am demoned by those desires.’
From Postcolonial Love Poem by Natalie Diaz.
‘I can’t fathom being interested in writing without the excitement of the possibility of the sentence.’
‘We all now exist as avatars, on shining tiles in these cubist landscapes’
Joanna Kavenna discusses her all-too-familiar surveillance dystopia, Zed.
‘I think the infrastructure of community around fathering is very limited.’
We discuss Caleb Klaces’s debut novel, Fatherhood.
‘Unless you are completely shut down and in denial, there’s no way you’re getting out of this without having changed.’
Ottessa Moshfegh on 2020 and her new novel.
We discuss the dilemmas presented by her new memoir, In the Dream House.
‘What does it mean to present a face of one’s community that isn’t commonly seen, and that might be seen as bad PR?’
‘At first sight the ship was bigger than the dock in which it floated, a whale sprawled in a hip-bath‘.
