 |
| photo: Rodrigo Restrepo Montoy |
Morgan Day is a fiction and architecture writer living in Tucson, Ariz. Her writing has appeared in Ecotone, Gulf Coast, Worms, and the Southampton Review. She was an editor of Formgiving: An Architectural Future History. Her debut novel, The Oldest Bitch Alive (Astra House, March 24, 2026), tells a polyphonic story where revolving perspectives meditate on consciousness and theories of everything as it follows an aging French bulldog.
Handsell readers your book in 25 words or less:
The Oldest Bitch Alive is about an old French bulldog living in a glass house who contracts parasitic worms and awakens to the natural world.
On your nightstand now:
I started James Joyce's A Portrait of the Artist as a Young Man before the end of the year and paused about halfway through. I'm hoping to pick it up again. My partner just finished Your Name Here, the new novel by Helen DeWitt and Ilya Gridneff, and was very excited to pass it along to me. The Last Samurai by DeWitt is one of our favorite books. I'm a few chapters into Your Name Here and loving it. I'm also reading László Krasznahorkai's The World Goes On.
Favorite book when you were a child:
The Phantom Tollbooth by Norton Juster. I hadn't thought about it for years until now, but I must have been drawn to the watchdog Tock, a fantastical dog with a ticking clock body. When I was a bit older, I enjoyed Watership Down by Richard Adams and The Baron in the Trees by Italo Calvino.
Your top five authors:
Samuel Beckett, Clarice Lispector, Julio Cortázar, Amy Hempel, and Roberto Bolaño.
Book you've faked reading:
I've tried to read David Foster Wallace's Infinite Jest and have had trouble continuing after 60 pages, even though I liked the parts that I read. Also, The Book of Disquiet by Fernando Pessoa. There are incredible passages, but for whatever reason I haven't been able to make it all the way through yet.
Book you're an evangelist for:
It's hard to choose one: Sula by Toni Morrison, The Posthumous Memoirs of Brás Cubas by Joaquim Maria Machado de Assis, and The Wall by Marlen Haushofer. Three very different books, but each one has shown me what the novel can do.
Book you've bought for the cover:
The Hole by Hiroko Oyamada, translated by David Boyd. I'm glad I did, because then I was introduced to her other translated books--The Factory and Weasels in the Attic. I recommend them all.
Book you hid from your parents:
Story of O by Anne Desclos (under the pseudonym Pauline Réage). I didn't know what I was getting into. The novel was on the list of 1,001 Books You Must Read Before You Die, which I'd gradually been making my way through at the time.
Book that changed your life:
There are so many books that I could choose, but The Days of Abandonment by Elena Ferrante completely changed me as a writer. It brought all my attention to the capabilities of a simple sentence; Ferrante's are like containers ready to erupt. I've never read anything like it.
Favorite line from a book:
This is a line from The Unnamable by Samuel Beckett that has been on my mind lately: "But all is forgotten and I have done nothing, unless what I am doing now is something, and nothing could give me greater satisfaction."
Five books you'll never part with:
The Unnamable by Samuel Beckett, The Apple in the Dark by Clarice Lispector, Hopscotch by Julio Cortázar, Ulysses by James Joyce, and 2666 by Roberto Bolaño.
Book you most want to read again for the first time:
I forget books almost as soon as I read them, so that's not really a problem for me. I don't often reread books from beginning to end, but one I'd like to pick up again is Seeing Is Forgetting the Name of the Thing One Sees, a book by Lawrence Weschler about the artist Robert Irwin. I always like reading about the ways in which artists have committed to their work. I'm especially curious to revisit the part about Irwin's perseverance through dense philosophical texts, and how he felt changed despite not really understanding the concepts. That happens for me too.