‘You’re probably going to hurt people’s feelings. But you can’t let yourself think about that. You’ve got to stay detached, cool eyed. If you can’t do that, you might as well pack it in and become an academic or something.’
Emmeline Armitage interview Lili Anolik.
‘Even if you’re writing in the third person, in that George Eliot-style, zoomed-out voice, every narrator is a person. Who are they? How do they know this stuff? The reader may never know who they are, but you need to know who they are.’
Joseph Williams speaks to Tim MacGabhann.
‘We all have so many things entering into the sensorium at the moment: it’s hard to be mindful and present while also acknowledging that you’re a person in history, with the past alive and all around us.’
Joint winners Vidyan Ravinthiran and Karen Solie in conversation.
‘It’s been nice to create that interpersonal feeling that poetry does so well, where you think you’re having this solitary, solo, lonely experience, but then you write it down and perform it, and someone’s like, no, me too!’
A conversation between Bella Cox and Joshua Idehen.
‘What poetry does is give people the scope to simultaneously challenge and champion ideas. It’s good to be able to be critical of anything, even if it’s something you really believe in.’
A conversation between Isabelle Baafi and Michael Mullen.
‘The English language is a colonial weapon; it’s been employed for some of the most gruesome atrocities. How you make something beautiful with that is a troubling question.’
Shortlisted poets Tom Branfoot and Tim Tim Cheng discuss each other’s work.
‘Diaspora life comes with its own kind of weight. We’re not in the rubble, but we carry it inside us. That contradiction, being physically far but emotionally tied in, is a big part of what it means to be Palestinian in exile.’
Jamie Cameron speaks to Mai Serhan.
‘I remember being cross at work when Google were getting rid a bit of software and the announcement said Google is “sunsetting” this product. Sunsetting! You can’t have the sunset.’
Joseph Williams speaks to Ben Pester.
‘I love the fact that Americans are still working out concepts like, what is freedom? What does freedom look like? Is it libertarian? Is it a socialist thing? Is it more of a free market thing? They grapple with the big things.’
Emmeline Armitage speaks to Joanna Pocock.
‘I don’t know if it’s very interesting to read fiction where you can feel that the author is judging the character. It’s so important that the novel be a space of non-judgment, for the readers to take from it what they will.’
Rosa Appignanesi interviews Lauren Elkin.
‘What becomes important for me is to think about ourselves not only as individuals, which is what memoirs are typically supposed to deal with, but as people who are caught up in history.’
Arjuna Keshvani-Ham interviews Viet Thanh Nguyên.
‘It’s an obvious thing to say but bad things happen when people are afraid, oppressed and silenced. If we could only take heed of the lessons that history has attempted to teach us.’
Hannah Saxby and Phoebe Pryce discuss performing Arthur Miller’s The Crucible in 2025.
‘If people really engaged with the countryside, really understood it, I think there would be fewer calls for more access.’
Tommy Gilhooly speaks to Patrick Galbraith.
‘There’s a certain hubris in being shocked by tragedy and then turning it into a myth. It’s like, something that happens to everyone becomes this epic, world-shattering thing because it happened to you.’
Krystelle Bamford interviewed by Lilia Fetini.
‘Why do people enjoy true crime? I think the procedural aspect of it, the detective work – which is a natural page turner – that makes it very enjoyable, and it takes you right out of yourself – if it’s good.’
Tommy Gilhooly speaks to John Cornwell about his true crime classic Earth to Earth.
‘Within the next 15 to 20 years, I would bet there’s going to be a group of people who are on some form of fairly effective longevity medication.’
Isabel Brooks speaks to Hanna Thomas Uose.
‘The reason I want to write novels rather than philosophy is that I want whatever point the novel makes to have a kind of undertone of disagreement with itself.’
Jamie Cameron speaks to Benjamin Markovits.
‘I was taking a revisionary feminist approach to literary archives, in the sense that I wanted to argue for the value of these domestic texts, that they can indeed tell a whole of a life.’
An interview with Harriet Baker, winner of the Sunday Times Charlotte Aitken Young Writer of the Year Award.
‘We are both more in favour of speaking rather than shouting, and as visual hunters we are happier when seeking than we are when parading the spoils of the hunt.’
An interview with Christopher Le Brun and Charlotte Verity.
‘I tend to enjoy writers who are good at writing gasbags; those who are in love with the sound of their own awful voice.’
Lilia Fetini speaks to Tony Tulathimutte.
‘I’m surprised that we’ve reached this weird cultural moment where we’re constantly trying to work out what is true, what is based on someone’s experience, particularly in relation to work that maybe meets the definition of autofiction.’
An interview with Michael Amherst.
Julia Steiner interviews Jacqueline Feldman about Precarious Lease: The Paris Document: a book of literary reportage on Parisian squats of the early 2010s.
‘Hope can be quite a toxic construct. It’s often invested in preserving the present, but what version of the present are we hoping to continue?’
Tom Nutting speaks to poet and educator, Caleb Parkin.
Jamie Cameron speaks to Gustav Parker Hibbett about form, identity and what it felt like to be shortlisted for the T. S. Eliot Prize for their collection, High Jump as Icarus Story.
