An Iranian immigrant and consultant discusses how storytelling and advocacy connect her career transitions from Wall Street to stand-up comedy and DEI.

Poet Michael Anania reflects on the nature of time, musical structures, and the persistent responsibility of attentiveness in poetry.

Shahrzad Changalvaee discusses how her sculptural practice navigates the tensions between artistic creation, political activism, and life in the Iranian diaspora.

Congolese refugee and author Mondiant Dogon describes how writing and personal narrative break the silence surrounding years of forced displacement.

Jessamine Chan discusses the personal, literary, and social origins of her novel, The School for Good Mothers, with interviewer Charlie Coulter.

Jocelyn Nicole Johnson discusses her debut fiction collection My Monticello and how she crafts complex characters rooted in Charlottesville, Virginia.

Filmmaker and writer Naz Riahi discusses her creative trajectory, gentle masculinity in cinema, and the global resonance of Iranian protest.

James Baldwin discusses the risks of writing, the burden of his audience, and the responsibility of the artist in America.

Jorge Luis Borges discusses his lifelong devotion to literature, his memories of old Buenos Aires, and the nature of time.

Author Sahar Delijani examines her family's history of political incarceration and the necessity of Iranian solidarity during wartime.

Artist and activist Zanele Muholi details the relentless work of building a visual history for South Africa's LGBTQIA+ community.

Botanical arrangements and archival research reconstruct the suppressed histories of abortifacient plants and the women who once used them.

Christopher Isherwood discusses his transition from fiction to autobiography, his interest in Vedantic studies, and the intricacies of his literary identity.

Palestinian American actor and activist Amel Khalil discusses navigating the intersection of personal grief, professional storytelling, and resistance in contemporary media.

Anaïs Nin discusses the evolution of her artistic consciousness, her diary-writing process, and the rejection of a restrictive public persona.

‘I understand that there is a temptation to bring everything in India, whether it’s literature, music or art, around to its relationship to nationalism. But as my friends in the art world have always taught me, that is surely impoverished as an analysis.’Granta interviews Sanjay Subrahmanyam.

‘Wei Hui would have been the last person to acknowledge the story’s fictionality. She hoped readers would think of her protagonist as her.’