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The Unthology Interviews: Armel Dagorn talks to Kit Caless

Armel Dagorn: Your Unthology 8 story “Not Drowning But Saving” starts from the simple idea that people working for charities might get addicted to their roles as helpers/saviours. Then it takes this premise up a notch (or two), and leaves the reader wondering if this really is an outlandish fabrication, or if they simply haven’t yet stumbled upon that particular dark corner of the real world. I love stories that manage to pull off that…

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The Unthology Interviews: Tim Sykes talks to Gordon Collins

Tim Sykes talks to Gordon Collins about his Unthology 6 story, Psycho-Nasal Aggravation Syndrome   Tim: Your inspired conceit in ‘Psycho-Nasal Aggravation Syndrome’ – that the removal of nostril hair causes chronic irascibility – seemed to be a means to approach anxieties about one’s (ageing) bodily self. Another of your stories revolves around a different sort of conflict between the protagonist and one of his organs. Is the estrangement between the physical and the self…

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The Unthology Interviews: Carys Bray

We talk to Carys Bray about her Unthology 4 story,  Treasures of Heaven   U: How does it feel to be an Unthologist? C: It sounds exciting and a bit medical, doesn’t it? I’m really pleased to have a story in Unthology 4. I bought Unthology 3 at the Killing Daniel launch and I enjoyed the stories. U: Why submit to Unthology? What does the series mean for you? C: Although I’ve been working on a novel recently, I love…

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The End Interviews: Jonathan Taylor talks to Zoe Lambert

  J: Like all the other stories in “The End,” your story, “Chaconne in G Minor,” opens with one of Nicolas Ruston’s paintings. In fact, the painting pre-dates your story: all of the writers in the anthology were allotted one painting each before writing their stories. How do you see the relationship between the painting and your own story? How did the story “grow out of it,” as it were? What were your aims in writing it?…

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The Unthology Interviews: Rowena Macdonald

We talk to Rowena MacDonald about Burning Man, her story in Unthology 4.   U: How does it feel to be an Unthologist? R: It feels good. I knew that it would. U: Why submit to Unthology? What does the series mean for you? R: The title attracted me initially – as did the title of Unthank Books itself. When I bought a copy of Unthology 3, I was impressed. The stories were mostly very…

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The Unthology Interviews: Gordon Collins talks to Tim Sykes

G: You have been a student of Russian literature for a long while before you took up writing.  Were you deterred by having so much to live up to?   T: I spent nearly twenty years intending to write. I’m sure an awareness of the gulf between my paltry mind and the writers who make me love literature played a part in that prevarication. Overcoming the long hesitation has brought some satisfaction but I’ll never shake the…

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The Unthology Interviews: Elaine Chiew talks to Amanda Oosthuizen

EC: I love your title. The Harp and The Thorn Tree. Which came first — harp or thorn tree? AO: Thanks, I’m glad you like it. They arrived together. When I’d finished writing the story I picked two of the strongest picture images. Those two jumped out at me and I kept them because together they make something else. EC: Both of these things have great symbolism in the story. As you are creating character…

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Fragmenting Angles

David Rose and Tim Sykes Talk about their stories in The End: Fifteen Endings to Fifteen Paintings.   Tim: I loved your story Ariel, first of all for the wistful sincerity and vividness of the narrator’s recollections. Can you tell me something of the story’s background? David: Ariel has had a long history, having been written in earlier form at the start of my writing life. It is a story I have always been fond…

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The Unthology Interviews: Cover Artist Nicolas Ruston

Installation shot from the exhibition Propensity Modelling. The Thinker (1880) by Auguste Rodin, has been covered in a white drape by Ruston. The paintings either side are a diptych, Sequential Pattern Mining Function (2011), Silicone on canvas, Each canvas 91.5 x 126.5cm Photographed by Adrian Burke Best known for his silicone and mixed media works that explore notions of artificial manipulation, artist Nicolas Ruston talks to Unthank Books about his cover painting for the recently…

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