“Sometimes I wonder if bilingualism is its own form of magical realism. What else would you call it when your mouth has to translate your heart?” Writer Marie Anne Arreola discusses how bilingual writing blends emotion, identity, and rhythm, and her upcoming debut novel, Sparks of the Liberating Spirit Who Trapped Us back in Woodstock. Interview by Betsy Robinson Image Jr Korpa @ Unsplash What inspired you to write a work of magical realism? How did the plot come to you? It started with a question I couldn’t let go of: What do we owe the past versions of ourselves who never got closure? I didn’t sit down thinking I’d write magical realism. I was trying to find a shape for all the memories that didn’t follow a straight line. The novel grew out of that, like emotional archaeology, digging through layers I didn’t realise were still there. That’s where the metaphor came from, too: a man returns to Woodstock, a place he thought he’d left behind, for a funeral—and ends up confronting the ghosts he’s carried with him, both real and imagined. It didn’t feel like I was inventing the story. It felt like I was recovering it. What did the writing process look like for Sparks of the Liberating Spirit Who Trapped Us Back in Woodstock? It was fragmented, and surprisingly tender. I started with texture, tone, and dialogue because of my background in screenwriting. I discovered the heart of the characters through their voices. That gave me the urgency to keep going. In fact, once I found that rhythm, I finished the first draft in one month. Writing this novel often felt like returning to the page not to produce, but to listen. The characters came to me as composites—part film characters from stories I admire, part versions of myself I no longer am. I built them from scraps, like assembling memories as a way to return again and again to the same emotional question. Does your novel reference the Woodstock festival? Not exactly. The idea of Woodstock came to me through my poem of the same name, which won the WILDSOUND Festival’s Nature category last year. That poem never left me. It was the first heartbeat of the novel. In Sparks, Woodstock is both a place and a metaphor. It’s where timelines blur, where the past and the present sit across from each other and talk. It’s a space where the main character, Johnatan, is forced to confront what could’ve been; not just in his life, but in the lives of those he’s lost. I also became obsessed with the way the word ‘Woodstock‘ sounds like ‘wood stuck‘. That small glitch in language opened a hidden passage for me: an invisible bridge between the literal and the emotional. That’s where the story lives. How did you incorporate your poem Woodstock into the novel? The poem was the doorway. It was atmospheric, surreal, and emotionally precise. Writing it taught me that memory doesn’t operate in linear time. It moves like weather, drifting, gathering, dissolving. That became the emotional logic of the novel. Some lines from the poem echo in the first part of the book, especially in Johnatan’s reflections on loss. Not always directly, but in feeling. I believe poems leave residue: emotional traces that don’t fade. The poem became a kind of compass. It reminded me to trust the luminous, strange aspects of grief. It also gave me permission to let nostalgia carry weight, to let it pull the narrative like a tide. Does writing in Spanish versus English affect the style of your writing? Absolutely. Spanish is where I keep my tenderness, my earliest memories, my family stories. English is where I keep my ambition, my edges, my academic self. Writing between the two means I’m constantly translating—yes, words, but also entire ways of thinking and being. That tension shows up in how my sentences curve, in the rhythm of my metaphors, in the way I play with sound and double meanings. That’s why I’m drawn to wordplay. Sometimes the slippage between two similar-sounding words opens up an unexpected meaning. It feels like I’m tracing an invisible etymological history; a secret logic that connects ideas beneath the surface. That’s where my poetic and linguistic instincts meet. I wonder if bilingualism is its own form of magical realism. What else would you call it when your mouth has to translate your heart? I don’t write in one language. I write through both. The dialogue in this novel, for example, emerged in English, not by choice, but by frequency. I grew up consuming so much English-language media, especially theatre and film, that often my characters start speaking in English before I even know who they are. That’s probably why dialogue is the backbone of my work. I follow it the way a poet follows meter. It’s all about rhythm. The rhythm tells me when the story is alive. How has it felt to expand from writing short stories and poetry to writing a novel? Poetry taught me how to compress emotion, how to make a sentence burst. Short stories taught me voice and urgency. But the novel asked something I wasn’t used to: stamina. Not in terms of speed, but in terms of attention. I had to sustain a feeling (this deep, subtle emotional tone) across 40,000 words without diluting it. At first, that was terrifying. But what carried me was the sense of responsibility I felt toward the characters once I understood how alive they were. I wasn’t just crafting a plot but becoming a vessel for their synthesis. I didn’t want to resolve them. I wanted to walk with them. Author’s Note This book is part of a larger conversation about what it means to be a hybrid writer in today’s world. As a Mexican poet publishing in London, I’m keenly aware of how rare and crucial that position is. We need to make space for it, not as a box to check, but as a necessary evolution in literature. Publishing this
FORESHORE BOOKS Foreshore Books is a traditional small press committed to publishing exceptional literary fiction, memoirs and poetry. We seek out distinctive, diverse voices from around the world. Our aim is to bring readers stories that might not always find space in the mainstream — books that reflect a range of experiences, cultures, and backgrounds. We publish against the current. In a world where literary publishing is often narrowed by trends and algorithms, we strive to open space for originality and variety. Our goal is to help degentrify the world of literary publishing — championing writing that is sincere, thoughtful, and unique, rather than safe or predictable. As a traditional publisher, we value the craft and care that goes into every book. We believe good literature can come from anywhere, and that every voice matters. At Foreshore Books, we are committed to connecting readers with stories that offer new perspectives and help keep literature fresh and meaningful. Thank you for being part of our journey. Published and Upcoming Titles FALLING STORY – NC Fortune THE SHAME CHILD – Catherine Jansen-Ridings SUICIDE APARTMENT – Affan Fatih Öztürk THE HEADS – John Livings SPRINGTIME IN THE BONES – Állex Leilla, translated by Amanda Sarasien FLAX: THE LEGEND OF TULA – Alison Jean Lester UPS AND DOWNS OF A TROUBLED MIND – Savvas Tsestos SPARKS OF THE LIBERATING SPIRIT WHO TRAPPED US BACK IN WOODSTOCK – Marie Anne Arreola TEACH ME HOW TO FLY – Petra F. Bagnardi DECLAN SOMEONE – Kate McElderry THE BIRDWATCHERS – Alan Lawson MY BROTHER TURNED INTO A CROW – Gabriel Rosenstock MYNAH: A SAGA OF MIGRATIONS – Syrrina Haque SO SWEET AND OTHER STORIES – Graham Buchan ALL THAT WE ARE – Robert W. Norris SERMON OF THE WOLF – David Stokes UP TO EIGHT – Simona Cappellini WE ARE CURRENTLY OPEN FOR SUBMISSIONS FOR AUTUMN 2026/SPRING 2027 We seek high-quality literary fiction, memoirs and poetry that is both well-written and entertaining; literature chosen not only for its ability to entertain and fascinate but also to inform and enlighten. SUBMISSIONS We welcome submissions of literary fiction, memoirs and poetry that reflect diverse voices, originality, and fresh perspectives. Please send a cover letter, a brief author bio, and the first three chapters or up to 50 pages of your manuscript (as a single PDF or Word document). Please email your submission to submissions@foreshorepublishing.com. Closing Date: 1 May 2026 Please Note: We do not accept previously published work. Due to the volume of submissions, we may take up to three months to respond. Thank you for considering Foreshore Books for your work. We look forward to reading your writing.
Discover The Best Publishing Option Find Out MoreFor Authors of Fiction, Memoirs, Children’s Fiction & PoetryFind Out MoreA Trusted Partner Dedicated To YouFind Out MoreGetting Great Books Into Bookstores Find Out More Find Out More LATEST FROM NEWS Foreshore Books Announces The Green Man, a New Supernatural Horror Thriller by Mark Woollard — Coming Autumn 2026 November 13, 2025 From the director known for work on The Avengers (1998), Solo: A Star Wars Story (2018), and The Batman (2022). Foreshore Books Announces The Green Man, a New Supernatural Horror Thriller by Mark Woollard — Coming Autumn 2026. Foreshore Books, the small-press imprint of Foreshore Publishing, is excited to announce the upcoming release of The Green Man, a chilling new supernatural thriller that draws on one of Britain’s oldest and most intriguing myths. Set in the deep forests of southern England, The Green Man follows John Turner, an ex-soldier seeking quiet work and recovery far from his past. But when a series of disturbing incidents begins near an ancient Iron Age site, Turner finds himself pulled into a mystery that unsettles both locals and investigators. As old symbols, forgotten histories, and buried emotions resurface, Turner discovers that the forest holds far more than legends — and that the past, both personal and ancient, is not as distant as it seems. The story unfolds with creeping dread, blending psychological tension with mythological mystery as Turner is drawn into events he cannot ignore. Joined by journalist Lowry Warner and historical theologian Peter Howell, he must confront forces that defy explanation and a darkness that seems to wake with every step deeper into the woods. Read Full Story >> Foreshore Books to Publish Short Story Collection by Graham Buchan September 10, 2025 Foreshore Books, the small press imprint of Foreshore Publishing, is excited to announce the upcoming release of So Sweet and Other Stories, a captivating collection of short stories, flash fiction, and flash non-fiction by acclaimed writer Graham Buchan. English-language rights have been secured for the US, UK, and international markets. So Sweet and Other Stories features twenty-six diverse works, ranging from around 6,000 words to under 200 words. Sixteen of these pieces have been previously published in prestigious literary outlets including London Magazine, Litro, Magma, Avocado, and Exquisite Death. Additionally, four stories have been performed at Liars’ League events in London, New York, and Hong Kong. Buchan’s collection explores a wide range of themes—from the often dark and unsettling, including murder, crime, violence, war, and oppression, to more tender investigations of love, desire, and family ties. Some stories adopt lighter tones, while others draw on historical moments such as the Second World War. Settings vary widely, spanning cities such as London, Russia, and Poland. Recurring motifs of music, writing, and science add layers of richness to the narratives. Read Full Story >> Read More News LATEST FROM FORESHORE Visit the Book Store The Birdwatchers is a hypnotic literary novella about loneliness, attention, and the search for genuine connection in an age of constant distraction. Set in a glass-bright Swiss city, Jean lives a life shaped by routine: corporate days, online nights, and a quiet sense of dislocation he cannot name. When a woman on his daily commute captures his attention, a chance misunderstanding draws him into a trio of amateur birdwatchers. To remain close to the group, Jean adopts their rituals of stillness: early mornings by the lake, silent observation, learning how to watch. But birdwatching demands more than patience. It asks Jean to look inward, to confront the distance between longing and real connection, and to question what it means to truly see the world—and himself. Written in precise, luminous prose, The Birdwatchers explores urban solitude, desire, and the fragile work of being present. Echoing the interior intensity of Jon Fosse and the clarity of Rachel Cusk, AJ Lawson’s striking debut novella offers an unforgettable meditation on how attention can reshape a life. Find Out More A BOLD FEMINIST TALE OF SURVIVAL, VENGEANCE, AND REBIRTH—NOW IN ENGLISH FOR THE FIRST TIME. Springtime in the Bones introduces English readers to Állex Leilla, a major contemporary Brazilian voice whose work blends lyrical intensity with the sharp edges of noir. Set in Salvador, Bahia, the novel follows Luísa, a rising star in the advertising world—clever, stylish, admired. But beneath her polished exterior lies a woman piecing herself back together from two shattering blows: a violent rape and the collapse of a marriage she fought desperately to save. Her ex-husband Michel has embraced his attraction to men, leaving Luísa suspended between love, longing, and abandonment. Yet the deeper fracture lies in the harm she has never fully voiced—and in the rage that now refuses to stay quiet. Haunted by memories of a past shared with Michel, searching for a future free of pain and resentment, Luísa knows with all-consuming clarity: she must kill her rapists. What begins as a whispered thought becomes a mission sharpened by pain, tempered by dark humour, and sustained by her fierce desire to reclaim power over her own story. As she confronts the men who stole her sense of safety, she also confronts herself—her contradictions, her desires, and the fragile promise of renewal. Find Out More Finding who you are can change everything. Declan Someone is a neurodiverse teenager from New York who has spent his life feeling slightly out of sync—with other people, with expectations, and with himself. When an unexpected opportunity takes him to Ireland, Declan steps into a landscape shaped by story, memory, and myth, and begins a journey that quietly challenges everything he believes about identity and belonging. Set between contemporary New York and Ireland, Declan Someone is a lyrical coming-of-age novella that blends modern literary fiction with subtle elements of Irish folklore. As Declan navigates new relationships, creative pressure, and unresolved questions from his past, myth becomes a gentle lens through which he begins to see himself differently. Find Out More FORTHCOMING FROM FORESHORE Visit the Book Store LATEST FROM FEATURES Read More Features THE REACH A Magazine of Slipstream Short Fiction. Now open for submissions. Find out More WHAT AUTHORS SAY ABOUT PUBLISHING
