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Nick Caistor on a translating job that revealed his own family history, writing synchronicity, and how fiction and reality are intimately intertwined.
'One part of me is sinking deeper into my roots, and the other is struggling to get away, to evoke a freer world in my writing. Writing about the Troubles and the landscape of home feels fraught with danger, but it is also a way of exerting myself.'
'It was impossible for me to go into a stately home (a treat for a seven year old) and not enquire whether there had been any blood shed, or bones found in the priest hole. Becoming a crime journalist and then a crime novelist was always on the cards. '
Katie Hickman on Josephine Waggoner, the first female Native American historian, and the importance of preserving the experiences and life-stories of people whose voices have been hidden.
'A photograph is often very revealing. I've written an entire novel based on a photograph album owned by the Adjutant and Commander of Auschwitz, and the more I looked at the images he chose to preserve in the album, the more I saw.'

Alan Jenkins speaks with John Greening about winning the Forward Prize, the moment he knew he would spend his life writing poetry, and the role of loss and death in his work.


Michaela Morgan speaks with Ann Morgan about becoming a reader by accident, writing for reluctant readers, using stories to unlock people and the importance of not writing down to children.


Jeremy Treglown speaks with Ann Morgan about choosing biographical subjects, the fallibility of memory, trying to tell real-life stories fairly and the experience of being a critic as well as an author.

When my family left Lebanon in the middle of the civil war, Stories from the Sands of Africa was one of the few things I brought with me to the UK. On its cover, a girl sits astride an alligator with sharp teeth. She’s being swept downstream to who knows where. But she looks happy.
I can’t recall why I bought All Quiet on the Western Front. I imagine I thought it was going to be a more highbrow version of Edge, Steel, and Breed. There was no revenge plot, no hero quest, bulging biceps; no busty Valkyries, just mud, rations, ‘a mad anger’ against death.

Syd Moore speaks with Doug Johnstone about Essex witches and their influence on her books, her new project exploring the Occult in World War Two, and the dilemma of whether to address or ignore the Covid-19 pandemic in an ongoing book series.

Nathalie Abi-Ezzi on the power of storytelling to create community, identity and belonging, and how a textile art project in London’s East End pushed the boundaries of her work.
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