Halifax writer Francesca Ekwuyasi got her start when she was 10, writing fictional stories in her journal. In her early 20s, still in her native Lagos, Nigeria, she began writing short stories, ultimately submitting one for publication around 2015.
Happy Hour is a tribute to a particular frenetic pace among New York’s social elite, one sometimes lived by these kinds of characters—modern femmes fatales and manic pixie dream girls.
Ruthnum is a student of form as much as substance, and his latest novel was the only way to contain some of the sweeping ideas about technology, diversity politics, and the modern workplace that had been nagging at him for months.
After the dissolution of her marriage, Camilla Gibb lost the ability to write fiction. The stories vanished, fluttering off somewhere out of reach, and it took many years for the acclaimed writer to hold them in her hands again.
Stephen Graham Jones, member of the Blackfeet Nation, is an athlete of the printed word, often localizing common slasher tropes in the context of Indigeneity.
Ian Williams is concerned with social honesty expressed through immaculate craft. In a time when many novels try to jockey for the hippest or most woke, Williams deals with the messy ambiguities, which is why a family is the perfect vehicle.
Travel writer Pico Iyer discusses his new memoir, Autumn Light: Season of Fire and Farewells.
Grand Union, a new collection of short stories by Zadie Smith, is out. The British author, who burst onto the scene in 2000, continues to be a voice for literary freedom, heralding a humanity that is collective and diverse—in which we all belong to something greater.
The celebrated author has had an impressive career that spans plays, radio dramas, short fiction, poetry, novels, and most recently, a series of critically acclaimed volumes she calls “living autobiographies”.