Survivor’s Guilt is about recognizing that we are all accountable for our humanity and how we enact socially.
I wanted to offer a version of transformation, of disappearing, that didn’t equate those things with weakness, but with power.
We are currently observing the most turbulent period in Turkey-US relations.
One of the reasons I adore fiction is that it can do two things no other art can: deep consciousness and extended, textured language.
Being a teacher was the closest I could come to being an eternal student.
I felt hemmed in by prose and by the apparent obligation of things like syntax and punctuation to make sense of things, to construct hierarchies of thought and utterances.
A novel should be more than its page-by-page performance.
I wanted to write this book the same way you engage in a treasure hunt: discovering clues, then going back in time to connect them to something you found earlier.
Parkland happened, and we knew we couldn’t stay silent any longer.
Most of the concrete details incorporated in the poems are factually true, even though many of the characters/voices I’ve created are fictional and the comic book landscape of monsters, supervillains, and superheroes is frequently fantastic.