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'When I was asked to co-translate a doorstep on Joseph Beuys, then a monograph on choreographer Pina Bausch and her innovative dance theatre, I realised I was dealing with the great and good of the German postwar avant garde. Yet still winging it.'
'The writers that grab me these days are those who pull and push not only at the limits of language but at those of form. Lydia Davis takes the already chameleon short story and whittles it down to single paragraphs, stacking sentences into collages. '
After struggling for years to write about his experience of childhood bullying, Steph Morris asks how we can best lower our own defences to write truthfully about personal struggles and connect with readers.
'On Saturday nights, you put on a miniskirt and drink (and often throw up) vodka orange in south London living rooms. You kiss boys. You stay up whispering to girl friends about kissing boys. You do not think that you are thinking about kissing girls. '

Bethan Roberts speaks with Catherine O’Flynn about her family tradition of oral storytelling, becoming a novelist after abandoning literary theory, and accidentally writing a novel about Elvis.


Bethan Roberts explores the varying ways in which truth has transmuted into fiction in her novels, the different nature of truth in fiction versus truth in historical research, and how far she’s prepared to go when inhabiting characters who are also real people.

Lawrence Sail considers the balance between recognising things and discovering them, as experienced during the creative writing process, particularly in poetry.


Ros Schwartz speaks with Ann Morgan about translating classic literature, learning to ventriloquise other writers, the importance of leaving some words untranslated and the linguistic challenges of the front-loading washing machine.


Lucy Caldwell speaks with Ann Morgan about her short stories and writing about Northern Ireland, the impact of parenthood on creative work, the lure of poetry and the knack of knowing when to stick the knife in with live audiences.

For more than thirty years Henry James kept a writer’s diary in which he recorded his observations, ideas for works-in-progress, and reflections on writing. Miranda Miller examines their contents and finds useful advice for modern novelists.
'James Baldwin's books weren't just about being black or gay. They were about being human, and what has to be understood, reconciled, challenged, acquired and achieved in order for a person to retain their humanity.'
Paul Dodgson considers the dramatic potential in the ordinary, and how a seemingly insignificant moment can be the perfect entry point to writing a life story.
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