‘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-judgement, 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.
‘Great things to learn as a writer: how to meet a deadline, how to be edited, how not to be precious about your prose.’
Rose Brookfield interviews Jon Day.
‘One of the things that I get torn about is that I feel really lucky that I’m an artist, but often wonder if it’s quite a selfish thing to be doing.’
Zadie Loft speaks to Rose Electra Harris.
‘I was told very early on by people in publishing that there is no market for literary criticism – none.’
Marina Scholtz speaks to Orlando Reade.
‘There’s a great deal of horror to be found when desire is misaimed or curdles – our desires are often an expression of the systems of power we exist in.’
Eliza Clark interviewed by Zadie Loft.
‘In this complex world where human kind is divided into tiny sections, I hope we all can find the unity we are meant to have.’
Eric Block interviews artist Farkhondeh Ahmadzadeh and curator Esen Kaya.
‘To me, writing is best described as listening. And at a certain point it is as if the text is already written: it exists out there somewhere, and I just have to write it down before it disappears.’
Zadie Loft interviews Jon Fosse.
‘Saying that fiction is untrue, that it is something of a lie, is as imprecise as saying that a song is a lie, that a joke is a lie, that a painting is a lie.’
An interview with Alejandro Zambra by Magnus Rena.
‘The garden is a space to think differently, to understand time differently and to understand how to cope with abundance, followed by loss, followed by abundance, followed by loss. It’s an anti-capitalist clock.’
Olivia Laing and Richard Porter in conversation with Zadie Loft.
‘The fragmented self is the self. That feeling of not being one thing but multiple threads intertwined into one physical, corporeal form, that is what it feels like to be human. I don’t think traditional portraiture where the figure is posed and sat always captures that.’
Zadie Loft speaks to gallerist and curator, Sosa Omorogbe.
