Julia Merican | Tolka, Web Only, April 2024 Amina Cain’s writing articulates seemingly small, peripheral things that nonetheless hold us in their thrall with bewitching precision: the specific sadness of candlelight dancing across a solitary dinner table; how we catalogue our encounters with books that have moved us; the pleasure of going out to buy the persimmons and the butter, of sinking into a painting after a long day of labour, of meeting a friend after a spell of loneliness. Cain is the author of the short-story collections, I Go to Some Hollow (2009) and Creature (2013), the novel Indelicacy (2020), and A Horse at Night: On Writing (2022), a series of essayistic enquiries. She spoke to me from Los Angeles in October 2023.  Julia Merican (JM): When I knew I was going to be speaking to you, I started to read the interviews you’d already had with other people....

Liam Harrison | Tolka, Web Only, January 2024 ‘The fawn looked at me, batting four sets of lashes, giving disarming smile. Off he went, hustling around the bandstand, rattling the local blue tits to the core.’ Isabel Waidner’s latest novel, Corey Fah Does Social Mobility (2023), spans prize culture, notions of social mobility, wormholes, daytime telly and, perhaps most memorably, an eight-legged Bambi. Waidner’s previously published work includes Gaudy Bauble (2017), Liberating the Canon (2018), We Are Made of Diamond Stuff (2019) and Sterling Karat Gold (2021), which won the 2021 Goldsmiths Prize. Corey Fah, like Waidner, is a writer who has won a literary prize – in Corey’s case, ‘The Award for the Fictionalization of Social Evils’. But Corey Fah struggles to collect the prize, which takes the form of a UFO that hovers just out of reach.  After failing to collect the prize, Corey Fah returns home to...

Molly Hennigan | Tolka, Issue One, May 2021 Doireann Ní Ghríofa’s A Ghost in the Throat (Ghost) is a book that, in a swift, sensitive movement, has achieved something that many people speak about, think about and slowly edge closer towards after years of scholarship and research. Across various interviews and within the folds of the text itself, Ní Ghríofa relays how she comes to the story of Eibhlín Dubh Ní Chonaill on the periphery of other paths that are well-worn. In Ghost, charting a timeline between the 1700s and the present moment, Ní Ghríofa traces the life of the poet Ní Chonaill through a series of personal reckonings. Stretching the text over the edges of her own experiences of motherhood and tragedy, she fills the gaps in our knowledge of the poet by listening out for echoes of her life today. Ní Ghríofa is not researching from within academia,...

The Hanged Man I associate the tarot with my early teenage years, a particularly disempowered time when there was nothing to do but when every moment was saturated with an indefinable yearning. At fourteen, I couldn’t even get a job as a lounge girl in the local pub, the means by which most of my friends gained some independence, working there after school and sneaking drinks with the barmen after closing. I wandered around town with my printed-out CVs, dropping them in front of managers who binned them as soon as I left the shop. In those days, time stretched and warped around us. We were waiting for something external to come and change our lives. The tarot promised us a message from the beyond. The Hanged Man smiles as he hangs upside down. I often drew this card as a teenager, and his expression troubled me. That (ironic?) smile...