Jordan sits down with Claire Vaye Watkins to talk about how the grief over her mother's death diffused into a homesickness for the landscape of the Mojave Desert, where she grew up, and the way that that singular landscape then formed her own writing style, which the New Yorker dubbed "Nevada Gothic." They also talk about postpartum depression, Watkins' autofiction novel I Love You But I've Chosen Darkness, and hauntings.

Claire Vaye Watkins was one of the National Book Foundation’s “5 Under 35” and one of Granta's "Best Young American Novelists." She is the author of I Love You But I've Chosen Darkness, Gold Fame Citrus and Battleborn, which won the Story Prize, the Dylan Thomas Prize, New York Public Library’s Young Lions Fiction Award, the Rosenthal Family Foundation Award from the American Academy of Arts and Letters, and a Silver Pen Award from the Nevada Writers Hall of Fame. A Guggenheim Fellow, Watkins is also the co-director of the Mojave School, a free creative writing workshop for teenagers in rural Nevada.

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This week, Jordan sits down with the "queen of Latin American gothic horror," Mariana Enriquez, to talk about the manuscript she burned and how it led her to search for a mode of horror writing that was drawn from her own lived experiences of terror. Mentioned: Jorge Luis Borges, Argentina's military dictatorship of 1976 to 1983, gravestones as monuments, Somebody Is Walking on Your Grave.

Mariana Enriquez is a writer based in Buenos Aires. She has published in English the novel Our Share of Night and three story collections, A Sunny Place for Shady People, Things We Lost in the Fire, and The Dangers of Smoking in Bed, which was a finalist for the International Booker Prize, the Kirkus Prize, the Ray Bradbury Prize for Science Fiction, Fantasy & Speculative Fiction, and the Los Angeles Times Book Prize in Fiction. Her most recent book is a work of nonfiction: Somebody Is Walking on Your Grave.

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Jordan sits down to talk with Miriam Toews about her new book, A Truce That Is Not Peace, her first nonfiction book, and the events that inspired it: the death by suicide of her father and then, later, her sister. They talk about the long periods of silence her father and sister both went through when they were alive, and how Toews' own persistent need to "arrange sentences" pushes back against their silences. Also discussed: grandkids, the whipsaw between horror and hilarity in her work, and the Mennonite community in which she was raised.

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