Issue 26 Interviews


from its inspiration to its final arrival in the hands of the reader, writing undergoes a lengthy and complex process, and one that is too often overlooked. Each issue, Front Porch sits down with people who are engaged daily with the processes and industries of writing, be it by running community workshops, buying books at a used bookstore, organizing translations, and much more. These interviews seek to examine the many forces that shape literature, and to highlight the perceptive and passionate people to whom we owe the books on our shelves.



You Eat What You Feel: An Interview with Aimee Bender

Front Porch: There seems to be a long standing stigma in the literary world
regarding very comic or very fantastical works, in that they are often not considered as "serious" or "important" as realist fiction.  Increasingly, however, the distinctions between fiction deemed "literary" and fiction with fantastic elements has begun to blur. What are your thoughts on these cultural distinctions, and their function? How much of a purpose does categorization serve?

Aimee Bender: Happily, as you say, this has been shifting, and there are more varieties of tone these days. And, the high/low culture split started to erode decades ago. Categories are a way to talk about things but beyond that not so useful I think—they begin a conversation but should never be an end point. It’s interesting to me how many women seem to write from a fairy tale influence—Kevin Brockmeier and Manuel Gonzales being a couple clear exceptions. But Sarah Shun-lien Bynum, Judy Budnitz, Ramona Ausubel, Karen Russell, Jeanette Winterson, Angela Carter as the matriarch of it all—it’s a great and growing list.

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The Big Tent of Interiority: An Interview with Lilah Hegnauer

Front Porch: Your first book, Dark Under Kiganda Stars, featured a linear narrative while your second book, Pantry, is more lyrical and syntactically fragmented. What led you to this shift in style?

Lilah Hegnauer: The move towards a more fragmentary and lyrical voice in Pantry was the result of growing up, moving across the country, and poking my head above the lip of the poetic foxhole that kept my work constrained, and thus more manageable. After Dark Under Kiganda Stars, I found myself seeking out a less narrative, more lyrical voice, partly in response to working with Greg Orr at the University of Virginia and partly because that was the kind of work I was reading. I was attracted to the flexibility of the short lyric and because it taps into a kind of incantatory power that reaches beyond narrative.

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The Radical Act of Being a Better Person and Then Maybe Dying: An Interview with Wendy Xu

Front Porch: In an essay for the Poetry Society you wrote, “the hypothetical might be my favorite state of being.” Could you elaborate on what attracts you to the hypothetical and its relation to your poetry?

Wendy Xu: It is like Dickinson saying “I dwell in possibility,” the hypothetical being a kind of unlimited imagining—perhaps because it also invites collaboration and revision, it feels open to others. “State of being” is a funny thing, and I’m laughing now over having said that. I mean, the mode of the hypothetical is also imbued with some sadness necessarily, no? The ideal is the hypothetical. And it is always pushing up against reality.

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Masthead


Executive Editor
Tom Grimes

Managing Editor
Jeremy Garrett

Co-Managing Editor
Jeremy Bauer

Poetry Editor
Dana Sprayberry-Thompson

Fiction Editor
Chelsea Campbell

Nonfiction Editor
Sean Rose

Webmaster
Aaron M. Fortkamp

Copy Editor
Reyes Ramirez

Interview Editor
Ben Seanor

Media Editor
Jessica Martin

Public Relations Manager
Jennifer Whalen

Book Review Editor
Jane Hawley

Readers
Cristina Chopalli
Laura Drell
Michael Kaufmann-Lynch
Stephen McIlhon
Kamron Mehrinfar
Graeme Mullen
Sara Olivares
Mary Perna
Danny Peters
Michael Pitoniak

Faculty Advisor
Steve Wilson

Founding Editors
Michael Hart
Evelyn Lauer
Josh Magnuson
Toby Peterson
Michael Wolfe

Advisory Board
Katie Angermeier
Ben Engel
Evelyn Lauer
Herpreet Singh

ISSN#1936-7716

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All photos were taken at the Katherine Anne Porter Literary Center, by Sameera Kapila and Herpreet Singh.

Website design by Sameera Kapila