“And day after day, I form trust between myself and my art, assuring myself that it will come to be, that it must go its own unique way and that every story—like every horse—is its own creature. I trust what it will become, even if I don’t know where it is going quite yet.“
“…it's teenage girls, their lives, they're in a world where they're stressing about school and boys and stuff. And I was like, I'm gonna write that style, first person confessional, anxious teenager. But it's fairies.”
How do we differentiate our voice from the other screams in this literary void? How do we channel writers in a way that is unique, fresh and exciting? And how the hell do we get writers out of Brooklyn?
This week, LUMINA Journal has been in conversation with the writers of BASS 2018, so our readers can further familiarize themselves with the minds behind this project. Check out yesterday’s interview here.
“Power dynamics are constantly at the forefront of a lot of the issues I’m interested in exploring, like writing about being a woman, a person of color, a younger sister. It’s relevant to so many things I’m always obsessing about and plays a very big role in the stories.”
“We’re in a moment of great public violence towards Latinx people, but at the same time, we can draw connections to many people who are undergoing violence, whether or not it’s super public at the moment.”
“I’m a big believer of revisions. My novel Youngblood went through nine or ten full draft revisions. I tend to be really messy with it. I’m always envious of writers that are able to have kind of control over their long form fiction".”
“In a city that was as black as DC was then, race wasn't always in the foreground but class felt like it was. And I wanted to explore those layers of identity, what it is to be black and female and upper middle class or black and female and struggling to make ends meet.”