I’m less interested in the question of what defines poetry versus prose and more interested in why we have certain assumptions about what fiction is
Many of the stories in Claire did begin as images—though not necessarily the ones you’d think of
our need as writers to bring shape, structure, and meaning to lived experience through language, in ways that feel authentic and emotionally true.
It’s not just about getting published, you must find the right home.
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.