Interviews

Molly Quinn’s writing has either appeared or is forthcoming in The Iowa Review, Kenyon Review Online, and Post Road. She was recently published in our Spring issue with the short fiction story, “Babies in the Water.”

Gayle Rocz: Your short fiction story, "Babies in the Water," is based around the relationship between a grown, unstable, and distant daughter, Kim, and her mother who is suffering from dementia. Their relationship is rather strained because Kim believes her mother intentionally poisoned her as a child. How did this scenario present itself to you? What were some influences that helped you create this situation between these two characters?

Marianne Kunkel is Editor-in-Chief at Missouri Western State University's national undergraduate journal, The Mochila Review, and has been published in several journals including the Missouri Review, the Notre Dame Review, Hayden's Ferry Review, and Rattle. She is the author of The Laughing Game, and her book of poetry, Hillary, Made Up will come out in September.

Kelsey Conrad: Your book, Hillary, Made Up, is set to release in September.  The book seems political by nature, but one thing that I found particularly interesting is how much it seems to revolve around makeup, and the idea of putting on a face.  When during the writing process did that idea start to emerge, or was it one that you started with?

Our Creative Nonfiction Essay Contest is open for submissions. Want some insight into what this year's judge, Carmen Maria Machado, is looking for? Read on! 

Your most recent book, Her Body and Other Parties, is a collection of short stories; your forthcoming book is a memoir. How do you conceptualize genre? Much of your work resists arbitrary borders, bending boundaries as part of craft—how does the construct or fluidity of genre influence your choices as a writer?

Andrea Gibson’s newest book, Take Me With You, is a pocket-sized collection of one-liners, couplets, greatest hits, and longer form poetry. Reading straight through it will fill your heart to the brim, while taking it slow will provide droplets of necessary insight and humor into otherwise gray days. Andrea Gibson was kind enough to speak to assistant nonfiction editor Ilana Masad about their work. Click here to buy Take Me With You.

Ilana Masad: Because your poems often include a musical element, a rhythmic element, but also work on the page, written down, I wonder—what is your writing process like?

Heather Johnson is the winner of our 2017 Summer Nonfiction Contest for her essay "Nowhere Place," which is forthcoming in our Spring Issue. Click here to subscribe to Prairie Schooner today.

Sarah Fawn Montgomery: Your essay, “Nowhere Place,” describes both a literal space, “a nowhere place surrounded by mesas, embedded in a valley of sand and weeds,” as well as a mental space, a “sense of unbelonging even to my own self.”  How did you go about writing about the Navajo Indian Reservation and dissociation? What freedoms and challenges did each present?

Our annual summer nonfiction contest is currently open to all types of creative nonfiction essays up to 5,000 words. The entry fee is $20 and includes a copy of the Spring 2018 issue of Prairie Schooner, in which the winning essay will appear. Our guest judge, Esme Weijun Wang, will name a winner and finalist. The winner will receive $250 and publication in our Spring 2018 issue. Below is an interview with Wang that touches on the art of writing, both fiction and nonfiction, living with chronic illness, and more.

SFM: The Border of Paradise is your debut novel, and your second book is the forthcoming essay collection, The Collected Schizophrenias. How did you arrive at each of these projects? Do your writing processes and practices differ depending on genre?

When Patrick Madden speaks of his chosen genre, he often calls it “the essay,” according it the respect of the definite article and the weight of tradition. It’s a long, wide, deep, endlessly variable tradition, though lately it’s been flattened out, rather commandeered (I don’t think I exaggerate Pat’s view) by writers with little real analysis to offer, and less insight. Here was the bender to end all benders . . . How I survived my baroquely awful Wall Street job . . . A year of eating only peaches . . . A year of following all speed limits, on all surfaces, in all weathers. (I hope that last memoir/adventure essay really exists somewhere. The others I’ve skipped or abandoned halfway through.)

Olympia Vernon is author of three critically-acclaimed novels: Eden, Logic, and A Killing in This Town. Vernon’s Eden won the 2004 Richard and Hinda Rosenthal Award from the American Academy of Arts and Letters.