The Millions Interview

September 3, 2014

Building Buzz and Finding Readers: A Conversation with My Publicists 2


That’s part of the publicist’s job — to help communicate how each writer’s story and book is unique.

September 3, 2014

Back from the Land: The Millions Interviews Donald Antrim 5


My ambition is to disappear entirely, as much as I can, from a reader’s awareness.

July 2, 2014

Looking from Across the Room: An Interview with Rebecca Makkai 0


I want everything to theoretically have some kind of an explanation, but at the same time there’s this question of luck – can you really have that much good luck or bad luck, or does it at some point start to feel supernatural?

May 19, 2014

Don’t Ever Do It For the Money: A Conversation with My Agent 9


My failure to convince publishers of someone’s talent and commercial viability: that’s a sustained shitty feeling that comes with no billable hours.

May 5, 2014

Notes from the Purgatory File: An Interview with Leslie Jamison 4


If we see something as fully as possible, in all its flaws and troubles, we can pursue it and embrace it more fully as well — there aren’t secrets or dangers festering under the surface.

April 24, 2014

You Can’t Avert Your Eyes: The Millions Interviews Teju Cole 0


You don’t become a war reporter because you love war. You report on war because it expands and complicates our idea of what war is. As a Nigerian-American who lives in the United States, I would like to complicate our sense of what Nigeria is, of what Lagos is, of what Africa is like.

April 21, 2014

Best Coast: ZYZZYVA’s 100th Issue 0


It’s hard to think of a single mode in American literature and letters that at this point isn’t organic to the West Coast: you name it, there’s a writer here who has published a work about it.

April 17, 2014

A Narrow Vantage: The Millions Interviews Mona Simpson 0


I think there’s a great temptation to sort of resist what it is you do naturally.

April 1, 2014

On New Afghan Writing: An Interview with Adam Klein 0


I know a teacher’s role is not to be an analyst. Actually, I don’t know this. I don’t know why it would be wrong to bring up where the energy of the text is, where the elisions are. To some degree, you move the writer before they can move their text. That’s what I mean by permission. It isn’t the silent listener at the end of a couch but it feels that way – waiting for a writer to face their anxieties, their resistances.

March 26, 2014

Life is Too Short to Read a Bad Book: A Conversation with My Editor 12


After I sold my novel to Little, Brown, my editor Allie Sommer and I talked on the phone (for the second time ever). I said, “My parents are so proud of me!” and she said something like, “Mine are so proud of me!”