Street Talk

Braddock Avenue Books: Nanking Mansion, the lofts/condos that serve as the setting for What the Zhang Boys Know, has a name that bespeaks the dubious hope of gentrification.

Braddock Avenue Books: No doubt the title of your story collection, Beasts & Men, is intended to be metaphorical, but it’s also the case that the stories often juxtapose people and animals in a literal way

Robert Yune: One thing that struck me about Hidden America is its sense of fair play, especially when dealing with sensitive topics such as guns and unions and immigration. 

Catherine Gammon: Fat Girl, Terrestrial seems to be among many wondrous things a chronicle of evolutions, evolutions of a kind we’re used to in fiction, how a character grows from childhood to womanhood, for example, or how events and actions taken come together to shape

Braddock Avenue Books: You begin your story collection, Strategies Against Extinction, with an epilogue from Joyce Carol Oates that is a meditation on realism that says, “to be a realist (in art or life) is to acknowledge that all things might be other than what they are

Braddock Avenue Books: Many of the stories in Margins of Tolerance depict men testing their personal relationships or investigating their identities as gay men against the backdrop of foreign travel—Peru, Brazil, South Africa.

Braddock Avenue Books: A Nearly Perfect Copy tackles questions of authenticity: the authenticity of art, the authenticity of being human. The latter question is guided by the protagonist’s interest in cloning her deceased son.

 

Only blood will teach certain people.”—Scott McClanahan

We live in an era, more and more, of compartmentalization.

Braddock Avenue Books: How would you describe the style that you’ve found your way to in May We Shed These Human Bodies? Allegorical? Fabulist? There seems to be an imaginative license in these stories that doesn’t shy away from any scenario.

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