Annabel Graham

  • interviews September 24, 2019

    Bookforum talks with Kimberly King Parsons

    The Texan girls and women who populate Black Light, Kimberly King Parsons’s debut story collection, are messy and loud and unapologetic. They fall hard and fast. Parsons gives her characters ample space to make mistakes, and they do—repeatedly—but we love them no less for it. Case in point: in “Glow Hunter,” when the impossibly magnetic Bo gets shards of glass embedded in her hand while doing parking-lot cartwheels, she pours Mountain Dew on the gash, watches it fizz, and goes about her day (which involves hunting for magic mushrooms in roadside cowpats). Such is an ordinary sequence of events

  • interviews April 24, 2019

    Bookforum talks with T Kira Madden

    T Kira Madden grew up queer and biracial in Boca Raton, Florida, the only child of parents battling drug and alcohol addictions, In her widely-lauded debut memoir, Long Live the Tribe of Fatherless Girls, she details her coming-of-age and her search, admist such volatile circumstances, for connection and stability, She often finds those things—or semblances of them—in unlikely places.

    T Kira Madden grew up queer and biracial in Boca Raton, Florida, the only child of parents battling drug and alcohol addictions. In her widely-lauded debut memoir, Long Live the Tribe of Fatherless Girls, she details her coming-of-age and her search, admist such volatile circumstances, for connection and stability. She often finds those things—or semblances of them—in unlikely places. The first few pages of the memoir find Madden befriending the J.C. Penney jewelry mannequin her mother sets up in their living room to ward off intruders, naming him "Uncle Nuke." She twists off his plastic hand,

  • interviews July 19, 2018

    Bookforum talks to Chelsea Hodson

    In the autobiographical essays that make up her debut collection, Tonight I’m Someone Else, Chelsea Hodson examines the chaotic and bewildering experience of being an American woman and artist. At first glance, some essays resemble a well-curated Twitter feed— like the single-line, stream-of-consciousness observations found in “The End of Longing”—but Hodson offers much more than aphoristic quips: She delves deeply into themes such as longing, desire, performance, and voyeurism.

    In the autobiographical essays that make up her debut collection, Tonight I’m Someone Else, Chelsea Hodson examines the chaotic and bewildering experience of being an American woman and artist. At first glance, some essays resemble a well-curated Twitter feed—like the single-line, stream-of-consciousness observations found in “The End of Longing”—but Hodson offers much more than aphoristic quips: She delves deeply into themes such as longing, desire, performance, and voyeurism. Her fragmentary, self-aware style evokes recent works by Sarah Manguso, Jenny Offill, and Maggie Nelson, yet her