Conversations

On The View from Saturn & More: An Interview with Alice Friman

Gina Abelkop: L is for Leaves,” your poem in our Summer 2014 issue, begins softly, with a meditation on daily routine and watching the leaves outside through a window, but ends with a darker finish with the narrator “not knowing / which of us is screaming, Hold on, . . .

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Odd Objects, Discomfort, & Joy: A Conversation with Lisa Knopp

John Brown Spiers: Your essays are layered almost impossibly well. Not only are they never about just one thing (or even just a couple of things), they very rarely meander, or “essay,” in the sense of a journey without a firm destination or even a firm path. Similarly, you admit from the outset of “Still Life with Peaches” . . .

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“For as long as I wish”: Paul Zimmer on Solace and Oblivion

John Brown Spiers: From the outset of “Secret Information,” you inform us that you’ve written the essay because “I feel obligated to relate something about that ominous place I had been taken to under the Nevada desert, and the abyss I peered into.” And, near the end, you realize that the scientist who serves as a kind of tour guide at the edge of the abyss, . . .

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Fiction That Performs As Only Fiction Can: An Interview with Ann Pancake

John Brown Spiers: To what extent do you think a novel needs to be dependent upon plot? You’ve spoken of what you perceived to be your own deficiencies with plot while writing Strange As This Weather Has Been, but that novel seems to be driven as much by event—driven successfully—as it is by character and language. . . .

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The Forest Was Loaded with Untold Stories: An Interview with Julie Riddle

John Brown Spiers: An early paragraph in “Shadow Animals” describes your reaction to your father laying sand on a wild-game trail on your new property in northwest Montana. He does this to capture hoofprints and determine what sort of wildlife lives in the woods, but as he furrows the sand with a rake, . . .

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Identifying with Valentine: An Interview with Anya Silver

 

Gale Marie Thompson (GMT): “Valentine Godé-Darel (1873–1915): Five Paintings by Ferdinand Hodler,” takes a different approach to chronology. Can you explain the creation of this poem, and its relationship to time?

Anya Silver (AS): I first saw Swiss painter Hodler’s depictions of his model and lover Valentine Godé-Darel when I was doing research on art and literature and medicine. . . .

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Agnostic Ecstasy: A Conversation with Coleman Barks

On the last evening in January 2013, I had the good fortune to stop by Coleman Barks’s home in Athens to interview him about his long poem “The VOICE inside WATER,” which appeared in the Winter 2012 issue of The Georgia Review and subsequently in his recently released collection, . . .

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