ghosts – Michigan Quarterly Review

ghosts

On “Ghostland”: An Interview with Colin Dickey

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“You’d find certain archetypes that would appear no matter what. For instance, the haunted merchant’s house in New York plays off the mythology of the unmarried woman, the spinster, as does the Winchester House. Things like this would crop up unexpectedly across the country, despite their radically different places and stories and cultures.”

On “Ghostland”: An Interview with Colin Dickey Read More »

“You’d find certain archetypes that would appear no matter what. For instance, the haunted merchant’s house in New York plays off the mythology of the unmarried woman, the spinster, as does the Winchester House. Things like this would crop up unexpectedly across the country, despite their radically different places and stories and cultures.”

Car Haunt

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by Elizabeth Dickey

In 2012, Tom and Ray Magliozzi—also known as Click and Clack, the Tappet Brothers—stopped recording new episodes of Car Talk. But by recording things, the past can play forever on loop, its actions or words unfurling as though for the first time, even when they are well past their original expiration dates.

Car Haunt Read More »

by Elizabeth Dickey

In 2012, Tom and Ray Magliozzi—also known as Click and Clack, the Tappet Brothers—stopped recording new episodes of Car Talk. But by recording things, the past can play forever on loop, its actions or words unfurling as though for the first time, even when they are well past their original expiration dates.

Of Sentient Donkeys, Supple Ironies and Artful Digressions: An Interview with James Morrison

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“Mainly, I wanted to avoid talking down to an audience of new readers. My teaching experience had convinced me that as long as the writing was concrete, as long as sentences were sharply honed, as long as ideas were connected clearly, as long as the pacing had some momentum–in other words, as long as the writing adhered to certain well-known standards for good writing across the board–new readers could respond to it.”

Of Sentient Donkeys, Supple Ironies and Artful Digressions: An Interview with James Morrison Read More »

“Mainly, I wanted to avoid talking down to an audience of new readers. My teaching experience had convinced me that as long as the writing was concrete, as long as sentences were sharply honed, as long as ideas were connected clearly, as long as the pacing had some momentum–in other words, as long as the writing adhered to certain well-known standards for good writing across the board–new readers could respond to it.”

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