interview – Page 37 – Michigan Quarterly Review

interview

Rock n’ Roll Time Travel: An Interview with Mo Daviau

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“I had the goal of writing a feminist novel with a first-person male narrator. Karl is not the most dudely of dudes, of course, but I liked the idea of a man casting a kind eye on someone like Lena, who stopped caring what everyone thought years ago and is just trying to make it through her day without crying. I liked the idea of having the male gaze on a woman most men would ignore or revile, with him actually admiring and loving her for her positive qualities, for who she is and her strength, which goes largely unnoticed in her life.”

Rock n’ Roll Time Travel: An Interview with Mo Daviau Read More »

“I had the goal of writing a feminist novel with a first-person male narrator. Karl is not the most dudely of dudes, of course, but I liked the idea of a man casting a kind eye on someone like Lena, who stopped caring what everyone thought years ago and is just trying to make it through her day without crying. I liked the idea of having the male gaze on a woman most men would ignore or revile, with him actually admiring and loving her for her positive qualities, for who she is and her strength, which goes largely unnoticed in her life.”

Between Reader and Writer: An Interview with Dubravka Ugrešić

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“The problem I have with contemporary culture is that today everything is treated as a product. Culture is a huge and shiny supermarket. As all products are announced as ‘brilliant,’ the risk inherent in buying those product falls entirely to me. In that respect, I often miss ‘my butcher’ and ‘my baker’ and ‘my vegetable lady,’ people I could rely on. These days, shopping and consuming—including consuming culture—have become more difficult. In such a context, I behave like any other cultural consumer: I buy books randomly, because I’ve heard of the author or the title, or I know the publisher’s taste, or a friend recommended something to me.”

Between Reader and Writer: An Interview with Dubravka Ugrešić Read More »

“The problem I have with contemporary culture is that today everything is treated as a product. Culture is a huge and shiny supermarket. As all products are announced as ‘brilliant,’ the risk inherent in buying those product falls entirely to me. In that respect, I often miss ‘my butcher’ and ‘my baker’ and ‘my vegetable lady,’ people I could rely on. These days, shopping and consuming—including consuming culture—have become more difficult. In such a context, I behave like any other cultural consumer: I buy books randomly, because I’ve heard of the author or the title, or I know the publisher’s taste, or a friend recommended something to me.”

MQR 54:4 | Fall 2015

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A special section pays tribute to the work of Charles Baxter: Laurence Goldstein tells of discovering Baxter’s first submission to MQR, Matt Burgess discusses “Forbearance,” Michael Byers lays out a Baxterian taxonomy, Matthew Pitt discovers Baxter’s affinity with Wile E. Coyote, Joan Silber analyzes his use of melodrama, Valerie Laken explores “Minnesota nice,” and Jeremiah Chamberlin interviews the man himself.

Fiction from Beth Thompson, Garret Keizer, Ronna Wineberg, Maria Adelmann, Laura Lampton Scott, Jane Ratcliffe.

Poetry from Timothy Liu, Alessandra Lynch, Raymond McDaniel, Deborah Pope, Durs Grünbein.

MQR 54:4 | Fall 2015 Read More »

A special section pays tribute to the work of Charles Baxter: Laurence Goldstein tells of discovering Baxter’s first submission to MQR, Matt Burgess discusses “Forbearance,” Michael Byers lays out a Baxterian taxonomy, Matthew Pitt discovers Baxter’s affinity with Wile E. Coyote, Joan Silber analyzes his use of melodrama, Valerie Laken explores “Minnesota nice,” and Jeremiah Chamberlin interviews the man himself.

Fiction from Beth Thompson, Garret Keizer, Ronna Wineberg, Maria Adelmann, Laura Lampton Scott, Jane Ratcliffe.

Poetry from Timothy Liu, Alessandra Lynch, Raymond McDaniel, Deborah Pope, Durs Grünbein.

Affable Beasts: An Interview with Michael Thomas Taren on Tomaž Šalamun

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“This is to say that Tomaž’s exuberance was always off the handle. He always thought his legacy would be found in America. America grafted onto his encyclopedia of references. He loved to write in Starbucks, especially that of Union Square. He bought Starbucks every day when he was in America and brooked no criticism of that company. Tomaž liked America quite a lot. At either periphery of the Atlantic he’s viewed as something childlike and mystical. In his home country it’s a split between reverence and annoyance. He became both a trophy case and Modernity’s whipping boy.”

Affable Beasts: An Interview with Michael Thomas Taren on Tomaž Šalamun Read More »

“This is to say that Tomaž’s exuberance was always off the handle. He always thought his legacy would be found in America. America grafted onto his encyclopedia of references. He loved to write in Starbucks, especially that of Union Square. He bought Starbucks every day when he was in America and brooked no criticism of that company. Tomaž liked America quite a lot. At either periphery of the Atlantic he’s viewed as something childlike and mystical. In his home country it’s a split between reverence and annoyance. He became both a trophy case and Modernity’s whipping boy.”

On “After a While You Just Get Used to It”: An Interview with Gwendolyn Knapp

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“I do like that people read my writing as Southern and not just as that of a bland white person. But I feel like if you are a writer who’s Southern, your sensibilities should probably just be organic. I grew up poor in Florida—I have a very specific sort of family—and the characters in those stories are deeply embedded in my story, and in who I am. I feel like Southerners deal with different situations and circumstances than people in other parts of the world—we have such distinct issues with poverty and social issues that don’t get addressed because you’re dealing with crazy belief systems.”

On “After a While You Just Get Used to It”: An Interview with Gwendolyn Knapp Read More »

“I do like that people read my writing as Southern and not just as that of a bland white person. But I feel like if you are a writer who’s Southern, your sensibilities should probably just be organic. I grew up poor in Florida—I have a very specific sort of family—and the characters in those stories are deeply embedded in my story, and in who I am. I feel like Southerners deal with different situations and circumstances than people in other parts of the world—we have such distinct issues with poverty and social issues that don’t get addressed because you’re dealing with crazy belief systems.”

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