SARAN WRAP MAGIC: An Interview with Amy Cipolla Barnes
Where neighbors handed warm zucchini bread over fences, a 10-year-old drove me around a farm in a rusty truck, and I most likely met a serial killer.
Rebecca Gransden
Rebecca Gransden lives on an island. She is published at Tangerine Press, Burning House Press, Muskeg, Ligeia, and Silent Auctions, among others. Her books are anemogram., Rusticles, and Sea of Glass.
X-R-A-Y SPECS: BLOODY NOSE, EMPTY POCKETS
Like Terminators or cockroaches, dive bars will always rise again. They’re one of the last bastions of organic and spontaneous social connection.
A DANCEABLE ROCK NUMBER ABOUT DEATH: An Interview with O.F. Cieri
I enjoy the wish fulfillment of making up a controlling, overbearing asshole and then torturing him by making everything go wrong no matter what he does.
X-R-A-Y SPECS: ZARDOZ (1974)
I knew I was going to love it when the head started to vomit guns. The tone felt like a Monty Python film. Is that a common comparison?
I’M JUST LIKE EVERY INSECURE WRITER: An Interview with Drew Buxton
There was this thing near San Antonio when I was in high school called the Elmendorf Beast that killed livestock. It turned out it was just a coyote with mange.
RAVI MANGLA on film with Rebecca Gransden
Video, broadly speaking, is the medium people interact with most on a daily basis, so I think contemporary fiction has some obligation to engage with it (if aiming to render the world as it exists).
J DAVID OSBORNE on film with Rebecca Gransden
I’ve always been confused about books that attempt to tell a straightforward, filmic plot through the written word. Isn’t that just a less-good version of a medium that already exists? Instead, why not adopt film’s self-confidence?
KARINA BUSH on film with Rebecca Gransden
One of my earliest memories is of jumping down all the stairs at once but it must’ve been a dream.
JAMIE GREFE on film with Rebecca Gransden
I grew up surrounded by woods, fields, an old mill, a Lutheran church, a cemetery just down the road, a local "party store" in the other direction, and farmland for miles and miles. It was glorious, really. And thank God for that party store.
JUSTIN ISIS on film with Rebecca Gransden
Writers who seem to want to write a commercial screenplay in prose strike me as the least interesting sort. The same goes for all attempts at translating cinematic terminology to prose.