Erik Larson


An Interview with Erik Larson, by Celia Johnson

When Erik Larson researched late nineteenth century Chicago for The Devil in the White City, one of his most useful tools was a magnifying glass. Through its lens he pored over old photographs, picking up details that would enrich his portrait of the city. Those observations became a series of verbal pixels that do more than simply describe; they transport. That kind of focus might be called obsession, a trait that permeates Larson’s life, whether he is perfecting a tennis serve or digging through library archives.

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