Tiffany Morris & Jessica Johns
We obviously had a relationship to this land, and the fact that it’s a city now doesn’t change that I have a relationship to how land operates here. Even though cities are colonial and cities are devouring land, I still have a relationship to what exists here.
I began by trying to write about the ship, but very quickly realized I needed to write to the ship—to address it.
A Queen Without a Country: Nate Lippens
I knew from a young age that language was a weapon and I wanted to be able to fend for myself in that realm. Not merely defend or rebuff what came at me, but to draw blood.
I kept dreaming of a book where there was genuine friendship between mother and daughter.
Each artist has certain currents—underground rivers, let’s imagine—they are attuned to, nourished by or responding to, in communion with. And I think we are each trying to speak in that true/inner/hidden language to others and to the world.
I became very interested in how . . . linguistic dynamics played out, and how they related to power, and who had dominance in any given discourse.
Two Thieves: Debut Authors on Self-Plagiarism, Theft, and Sample
What drives us to steal? To become a thief? To get the things we want—physical objects, words, ideas—by taking them?
Magic, magical realism, or magical thinking are the ultimate expression of powerlessness, but they are also holders of the possibility of a better, more just, world.
One of the great potentials of science fiction is its ability to relativize our own experience, to put it in different contexts.
It sort of seems old-fashioned now, but I consider myself a social realist. I like to work on big canvases. I like books that take on the whole world.