Archive for the ‘Featured Interviews’ Tag

“Also, I think that not only does talent get resented, but that the worst resenters are the untalented”: Fiona Sampson

Fiona Sampson: credit Ekaterina Voskresenskaya

Fiona Sampson interviewed by Interlitq: read the entire interview:


Interlitq: As Editor of Poetry Review, you were preceded by Muriel Spark. How do you consider Muriel Spark as writer and woman?

FS: I think she was well-named! Sparky in both the intellectual sense and in the sense of having evident personal charisma and courage. For me she’s a real role model and, again, a writer with a whole body of work, much of which has become canonical (as in my own passing reference to The Prime of Miss Jean Brodie, just for example). I think that Spark was very badly treated by the Poetry Society and by other male amateur poetasters she tangled with… and that their impulses, their arrogance, their assumptions that a woman writer is always “a woman of no importance” – that the phrase is a tautology – are still absolutely familiar today. Even though we no longer wear Fifties fashion, little else has changed. Also, I think that not only does talent get resented, but that the worst resenters are the untalented. A good male (or female) writer doesn’t need to waste time trying to undermine some passing woman – he has his (she has her) own work to get on with…

Read more about Fiona Sampson.

Read more about Muriel Spark.


U.S. author Tanyo Ravicz to interview Peter Robertson

Peter Robertson

Interlitq news January 2018:

U.S. author Tanyo Ravicz to interview (“Featured Interviews” series) Peter Robertson.

About Peter Robertson.

About Tanyo Ravicz.

“…the bird symbol is one of innocent nature corrupted by human action”: Calum Colvin

Calum Colvin. Mute Swan, 1994. © the artist

PR: It is in “Deaf Man’s Villa” that birds first appear as a central motif. Later, in the mid 90’s, you went on to produce your “Ornithology” series. Can you tell us more about the symbolic significance of birds in your work.

CC: In “Deaf Man’s Villa” representations of birds appear symbolically in various forms as victims of human conceit and neglect. In this way the bird symbol is one of innocent nature corrupted by human action. In a sense this occurs again and again in my photographs, but there are other layers of symbolism in the use of birds. It highlights the complexity of meaning I aimed at achieving through the simple technique of staged constructed scenarios orchestrated before and recorded in front of a large-format camera. It is a multi-layered and endlessly cross-referenced image touching on themes of optical illusion, corrupted nature, transformation, evolution and reproduction. Although “the Deaf Man’s Villa” was titled after Goya’s home near Madrid, the place where he painted his incredible “Black Paintings”, the title became something more to me. I began to see the “Villa” as an emblem for the world as a whole and the “Deaf Man” as humankind. The general abuse of the planet by man coupled with the usually catastrophic attempts to interfere in the natural processes, for example, re-introducing extinct species, became an issue of some concern and I wanted to explore the consequences of this kind of behaviour. As you mentioned, the use of bird imagery became more central to the image in the mid 90’s when I started work on an ongoing series of images under the collective title, “Ornithology”, although in fact the works touched on many themes. I wanted to create a series of images which contained social commentary masked in a kind of urban Audobonesque visual style. These works include “The Magnificent Frigatebird”, an image which meditates on Scottish working-class culture, and “Sacred Ibis”, which looks at the destructive aspects of the lottery obsession.

Read Peter Robertson’s interview with Calum Colvin.

About Calum Colvin.

About Peter Robertson.

“I like poetry that appears to be clear on the surface, with complexity astir in the depths”: Chana Bloch

Chana Bloch

Interlitq: How would you describe your poetic style?

I value clarity, an old-fashioned virtue. I like poetry that appears to be clear on the surface, with complexity astir in the depths, rejecting the shallow notion that these are necessarily opposed. My poems are spare and precise, their often dark subject matter leavened with humor and irony. My language springs from the demotic idiom I grew up with in the Bronx, infused with the irony and wit of Jewish discourse as well as the seventeenth-century metaphysical poets I studied, wrote about, and taught.

Read Interlitq‘s Featured Interview with Chana Bloch.

Chana Bloch’s website.

Chana Bloch’s Wikipedia entry.

Chana Bloch’s Poetry Foundation profile.


Abigail Harrison (Astronaut Abby) interviewed by Neil Langdon Inglis

Abigail Harrison (Astronaut Abby)

In an Interlitq Featured Interview, Neil Langdon Inglis, interviews Abigail Harrison (Astronaut Abby).

Astronaut Abby’s website.

Astronaut Abby’s Wikipedia entry.

About Neil Langdon Inglis: He is the U. S. General Editor of Interlitq, and a contributor to Issues 18, 19, 20 and 21 of Interlitq and English Writers 1, English Writers 2 and English Writers 3.

Read Neil Langdon Inglis’s 3 question interview to Interlitq.

Read “William Tyndale and Thomas More: The Eternal Controversy”: An Interview with Neil Langdon Inglis.