Friday, February 20, 2026

Q&A with Erin M. Cline

  


 

 

Erin M. Cline has done a new translation of Confucius's The Analects. Her other books include The Problem of God. She is the Paul J. and Chandler M. Tagliabue Distinguished Professor in Interfaith Studies and Dialogue at Georgetown University, and she lives in Washington, D.C. 

 

Q: Why did you decide to translate Confucius’s The Analects?

 

A: I have taught and worked with the Analects for many years. But for those who first encounter it, the text often feels like a jumble of bits of wisdom. So, I teach it thematically, by having my students read all of the passages on a given topic, rather than having them read passages in order as they are numbered traditionally.

 

This allows them to make better sense of it, and it is also much closer to how traditional Confucians read the text—because they always read it with traditional commentaries that pointed them to other passages on the same topics. 

 

My translation is reorganized thematically. So instead of encountering a jumble of passages on different topics, readers see everything the Analects has to say on a given topic like ritual or filial piety in one place.

 

I also wanted to translate the Analects in order to show more clearly that it is sketching a vision of a good life for all people. I use gender-inclusive language (which is actually more faithful to the original classical Chinese in which it is written). 

 

And I correct a number of inaccuracies about women and gender that have been a part of previous translations, including leaving the term “junzi,” which refers to the best kinds of people, untranslated, rather than gendering it and translating it as “gentleman,” which I argue is a mistake.

 

Q: The scholar Bryan W. Van Norden said of the book, “Finally, English readers can appreciate the original vision of Confucius, who was a radical revivalist, not the staid Burkean traditionalist he is so often portrayed as.” What do you think of that assessment?

 

A: I am deeply honored by this assessment, especially because Bryan Van Norden is one of the translators and scholars I most admire! And I agree with him wholeheartedly that Confucius is not a staid Burkean traditionalist, but a radical revivalist! 

 

One of my favorite features of the Analects—but one that sometimes gets lost in translation—is that it highlights the importance of preserving and reviving earlier rituals and virtues while at the same time advocating for much-needed change. 

 

For instance, Confucius argued that we must, at times, amend and refine traditional rituals, and that if we don’t have the right feelings and attitudes when we follow traditional practices, we might as well not do them at all. 

 

While he claimed only to be a transmitter of traditional values and not an innovator, if we look at what he was saying, we can see him both transmitting and innovating. He was transmitting a variety of traditional practices and values, but he was also putting them all together in a new way, and advocating for a number of new ideas. 

 

Another example is that he used the term junzi not to mean the son of a lord or child of an elite, but gave it a moral sense: the junzi, for Kongzi, was the cultivated person, the exemplary person, the person we should all aim to be like. 

 

And, he further argued, this is the person who should serve as the ruler, and not just the heir apparent or those who have enjoyed privilege, status, and wealth. 

 

In this way, he was very much challenging the status quo. Good leadership is really about moral character, and not status, wealth, intelligence or skill. Those in leadership positions should be those who possess virtues like benevolence, generosity, humility, compassion, wisdom, fairness, and gratitude. 

 

This is, as Prof. Van Norden points out, is a radical idea. But Kongzi was right! And his insights have a lot of relevance for us today.

 

Q: What do you think your translation says about the role of women in this context?

 

A: The Analects does not say a lot about women explicitly, but unfortunately a number of passages in the Analects have been interpreted and translated as referring to women or as saying or suggesting insulting things about women, when in fact they do not. I correct these errors, and the text reads very differently as a result.

 

One example is that the term junzi (which most translators render as “gentleman”), I argue, is not gendered in classical Chinese, and nothing in the Analects suggests that a woman cannot become a junzi (a cultivated person, an exemplary person). 

 

In fact, we know that in early Confucianism, unlike in texts such as Aristotle’s Nicomachean Ethics, women were believed to be capable of cultivating roughly the same set of virtues as men; we have texts that document the lives of women from these early times and that name and celebrate their virtues and their understanding of ritual.

 

My translation also tackles the story of the one named woman in the Analects (Nanzi, discussed in Analects 6.28), who has been maligned throughout history. But her true story has never been told before. I uncover it for the first time. 

 

And it is a stunning story: not only is there no reason to view her as a woman of ill repute; to the contrary, we have good reasons to think she overcame incredible hardship. I argue that hers is a story of mistaken identity; she was wrongly conflated with a different person. 

 

But I further show that her actual story is a fascinating one: she was a woman who helped to govern when her husband failed to do his job, and who survived attempts on her life. 

 

And she was married to one of the earliest documented men in Chinese history to have been in a same-sex relationship. In fact, his story is the source of a popular byword for male homosexuality. 

 

All of this unfairly affected her reputation throughout Chinese history, but no one has ever put the whole story together before. My hope is to correct the record and help people to see her in a new, and more accurate, light.

 

Q: What do you hope readers take away from the book?

 

A: I hope they will be inspired by the aspirational ethic that the Analects presents. It insists that we can become better people, and it also outlines specific practices (like rituals) that actually help us to become kinder, more generous, and more grateful. 

 

It offers a really compelling account of how we can live more fulfilling and meaningful lives, and how we can build rich relationships with each other. 

 

I hope readers will find it to be a text they can open every day for inspiration and for daily wisdom that will help them to lead richer, more fulfilling lives.

 

Q: What are you working on now?

 

A: I am working on a comparative project focused on the early Daoist tradition and the Amish. Both of these traditions focus on a simple, agrarian life with limits placed on the use of technology and a different sort of education than we tend to value. Both traditions are also grounded in a deeply religious vision of what it means to live a good life and to flourish. 

 

I am interested in how exploring them side by side can help us to learn how we, too—even those of us who live in a less counter-cultural way—might live more simply and therefore flourish to a greater extent.

 

Q: Anything else we should know?

 

A: I have three children and am always inspired by their experiences and challenges. I am also inspired by the example of my own parents and grandparents—something I carry with me on a daily basis.

 

The Analects tells us that filial piety—the deep love, affection, gratitude, and respect that children develop for loving and supportive parents who are always there for them—is the root of all of the other virtues. 

 

One of the things I love about the Confucian tradition is that it insists on the importance of noticing and appreciating the key role that loving relationships between parents and children plays in our lives.

 

--Interview with Deborah Kalb 

Q&A with Ty Bannerman

  


 

 

Ty Bannerman is the author of the new book Nuclear Family: A Memoir of the Atomic West. He is the cohost of the podcast City on the Edge, and he's based in Albuquerque, New Mexico. 

 

Q: What inspired you to write this memoir?

 

A: A memoir is, I suppose, an attempt to understand one’s place in the world. To take the pieces of a life and form them into an artistic reflection of the self that, hopefully, others can relate to and find meaning in as well.

 

So, the inspiration is the impulse to understand myself, using all these “clues” about the world, the intimate histories of those who share characteristics with me, right down to trying to understand the nature of reality itself.

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: One of the themes of the book is the universal connection between all people, partly because of the nuclear age we live in, forever changed by the Trinity test in 1945, and partly because of the very makeup of our existence at the atomic level. Humanity (and all of everything) is the “nuclear family” in this sense.

 

But a fair amount of the book is devoted to my own actual sociological nuclear family unit, standing in as a sort of microcosm of the greater whole. So how could I possibly resist giving the book this title?

 

Q: The author V.B. Price called the book “a fascinating and thoroughly enthralling insider’s look at the intimate impact that both the national security establishment and radioactivity itself can have on a family associated with the operations of the Manhattan Project and its evolution into the shadow world of mutually assured destruction.” What do you think of that assessment?

 

A: It’s a wonderfully kind assessment, first of all. And that’s definitely one aspect of the book; the core metaphor has to do with my family’s tangential relationship with the nuclear weapons industry in its early days, and the book moves outward from there to revel in these various connections.

 

My main focus is on the poetic connections between things as disparate as theoretical physics, intrafamily dynamics and history, and I’ve certainly tried to fold in a bit of political reality as well. We live under threat of these immensely powerful weapons, and we’re all in this together.

 

Q: What impact did it have on you to write the book, and what do you hope readers take away from it?

 

A: It’s a strange feeling, like I’ve sent out several thousand messages in bottles and I have no idea where they’re going end up or who is going to read them. All I can do is hope that they get rescued and read by folks who find them meaningful, who can relate to the message.

 

It’s an incredibly vulnerable feeling, given how personal a memoir is. You make a gift of yourself, something you think is beautiful and true and all you can do is hope that others understand and relate to the message and maybe, hopefully, see some of the beauty there. My hope is that the readers accept this, and find their meaning there as well.

 

Q: What are you working on now?

 

A: I have this intense interest in early Coney Island history that I’ve been pursuing. I suppose there are some similarities to that and Los Alamos, in that they are both artificial environments built for a world-changing purpose.

 

Of course, Coney Island is all about amusement culture, but so much of the world we currently live in is reflected in that crazy island and the madmen who created it.

 

At the moment, that interest is manifesting into a sort-of-magical-realism novel I’m working on and a YouTube series about the history. I’ve been thinking about pursuing it as a nonfiction book as well, just getting into the stories of that time and the personalities involved as well as the modern-day folks who still carry a torch for the island’s history.

 

Q: Anything else we should know?

 

A: I’m just really overwhelmed and honored by the fact that this book is now out in the world and people are actually reading it! Thank you to everyone who picks it up.

 

--Interview with Deborah Kalb 

Feb. 20

 


 

ON THIS DAY IN HISTORY
Feb. 20, 1902: Ansel Adams born. 

Thursday, February 19, 2026

Q&A with Chanchal Garg

  

Photo by Carolina Luna

 

 

 

 

Chanchal Garg is the author of the book Unearthed: The Lies We Carry & the Truths They Bury. She is also a speaker and executive coach.  

 

Q: What inspired you to write Unearthed?

 

A: Well, I never initially planned to write a book. Unearthed began as a personal journaling process. At first, I was just writing my own thoughts and experiences to process them and over time, it evolved into something I wanted to share with my children.

 

I wanted them to have an example of a woman who speaks up and doesn’t stay silent and confuse that silence for loyalty. In my lineage, I’ve seen generations of women who could not fully acknowledge their own existence. I did not want that to be the legacy I passed down.

 

I am also an executive coach and as I wrote, I began to see how universal these narratives are; how many women feel pressured to shrink themselves or people-please in ways that lead to losing themselves. I wrote Unearthed to share my story knowing that there are not yet enough of these stories out there.

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: The title Unearthed really emerged organically as I wrote. In the book, I explore a lot of the questions I had at those moments in my life, or even questions I wish I’d asked but couldn’t. That process felt like unearthing layers of my own story.

 

For me, the word “Unearth” is deeply tied to my cultural roots and that connection to the earth itself. I think of it as if I’m turning over what’s buried and asking, “What’s underneath all this?” Our culture can be beautiful, but it can also bury truths that we need to bring to light.

 

The title Unearthed signifies my own process of digging deep, reclaiming my own voice, sharing my story, and staying true to myself in relationships and leadership. It is about revealing the truths that were buried by narratives telling us to stay silent. The name came slowly, but when it did, it felt exactly right.

 

Q: The author Carole Robin called the book “a gift of vulnerability, strength, and transformation.” What do you think of that description?

 

A: I think Carole’s description reflects her own experience of the book, and I’m honored by it. It’s meaningful to hear someone frame vulnerability as a strength and a doorway to transformation.

 

Often vulnerability is seen as weakness, so having someone like Carole acknowledge it as a powerful force is something I really appreciate and think we need more of in the world.

 

At the same time, I know that the book is deeply personal and that different readers will resonate with different aspects of it. While Carole’s words capture one beautiful angle, each reader might unearth something unique that speaks to them.

 

To me, that is the beauty of sharing a personal story. It can be a multifaceted experience that offers different gifts to different people.

 

Q: What impact did it have on you to write this book, and what do you hope readers take away from it?

 

A: Writing Unearthed was a layered healing journey. Many of the experiences I write about in part three happened as I wrote. I didn’t always know where I was going in my writing as it was an active healing process.

 

After the book was published, I continued to question my own narratives as I engaged in conversations with readers. It’s been a reminder that healing is ongoing.

 

What I really hope readers take away is a sense of questioning and reclaiming their identity. I want them to use the book as a mirror to ask: “Is this who I really am, or is this who I was taught to be?” Unearthing those inherited narratives that could have been confused with their own identity and seeing if their actions truly align with what is in their heart.

 

I hope the book invites them into their own journey of reclaiming who they really are.

 

Q: What are you working on now?

 

A: I’m working closely with women leaders at the intersection of identity, power, and influence. When faced with challenging power dynamics, I’m working with women to hold onto their own power and dignity as they cultivate influence.

 

I’m speaking at women’s leadership conferences and within organizations that are actively supporting their women leaders. I’m guiding these women to rethink old conditioning and step into leadership where they have real impact, so their influencing outcomes rather than just navigating them.

 

Q: Anything else we should know?

 

A: Unearthed is not just a story, it is meant to spark reflection. There are questions at the back, perfect for book clubs or individual reflection, especially for women leaders thinking about their own choices and leadership. If that’s of interest, I’m always open to supporting that conversation.

 

If anyone reads the book and wants to share thoughts or ask questions, I’d love to hear from them.

 

--Interview with Deborah Kalb 

Q&A with Donica Merhazion

  


 

 

Donica Merhazion is the author of the new novel Born at the End of the World. A former journalist and educator, she is based in Eritrea, Zambia, and the United States.

 

Q: How much was Born at the End of the World inspired by your own family history?

 

A: Almost everything in the book is true and represents their experiences. I had initially written it as a nonfiction memoir, but it didn't have the storytelling voice that my parents possess, so I rewrote it to give the reader a sense of hearing a storyteller weave a tale.

 

I wanted to stay as close to the facts and truth as possible. I recreated a few conversations and stitched together timelines in certain parts, but what is in the book is based on fact.

 

I have listened to my parents tell their stories all my life, but really started to tune in as an adult when I had children of my own, and the magnitude of what they experienced dawned on me. Initially, I wanted to preserve their story in the form of an essay that I could give to my children, and it evolved over the years into a book.

 

The stories you read about are all based on interviews I had with both my parents over several years. In our tradition, oral storytelling is how one generation passes information to the next. Because of what happened during the Red Terror, so many of my parents' generation were displaced, suffered greatly, and many unfortunately ultimately lost their lives.

 

All these stories need to be told, and I chose to tell them in a novel format so that they can reach as many people as possible. Perhaps those who have parents or grandparents who lived through that turmoil can also be inspired to turn to their parents and grandparents and learn their own family history.

 

Q: What did you see as the right balance between fiction and history as you wrote the book?

 

A: It is very important to me to tell the history as it was and honor the experiences they went through as accurately as possible. What I used my imagination for was describing certain scenes, like how Elen walked away from her home at 13, her internal dialogue, how she felt the world around her, and so on.

 

I recreated dialogue in certain scenes which may not have been the exact words spoken at the time, but I felt it was necessary to have so the readers can be immersed in the moment.

 

My parents have been through so much, they can sometimes sound casual when they recall their suffering or what they had to do to stand on the side of justice. I interpret that as their way of giving themselves joy and happiness in the present moment and moving away from dwelling on the horrible things they experienced. 

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: Alem Bekagn is the name of the prison the Derg sent my mother to when she was pregnant with me. It held many political prisoners at the time. The name of the prison is an Amharic phrase that can be interpreted to mean "end of the world" or "I have had enough of the world." 

 

This is the place where I was born and where my mother took care of me for a year and a half. The building was torn down, and in that location, the African Union building was built in its place.

 

Q: How did you research the novel, and did you learn anything that especially surprised you?

 

A: My primary sources of information were interviews with my parents. What was surprising was that when I delved into research on what was available online, so much of what they said was corroborated, and I even found digitized copies of the magazines my father mentioned reading at the time.

 

What I found most urgent, though, was how many of the stories were not told. Amnesty International, The New York Times, and other major media outlets reported on what was happening at the time right up until the Derg came into power.

 

After the foreign media representatives left Ethiopia, it seemed as though a void was created, leaving behind silence. Considering the scale of the atrocities, not much is documented, just people like my parents who pass on the information orally. 

 

It was also so interesting to get calls and messages from many people who had similar experiences after the announcement of the book. That gave me the urgency to write this story, and hopefully, it will spark more dialogue so we can remember and honor those who came before us.

 

Q: What are you working on now?

 

A: I have an exciting middle-grade novel I'm working on. I'm fascinated by twice exceptionality and how one can navigate the world when two extremes exist in one person.

 

In this story, we follow a young teenager who tries to escape her debilitating social anxiety as an anonymous master gamer. She gains a massive online following until a cross-continent move and a family crisis force her to confront a reality that no line of code she creates can control.  

 

Q: Anything else we should know?

 

A: Stories have the power to uplift, encourage, and inspire. The power of a story well told is the connections they make between us, regardless of where we come from.

 

This novel may be far removed in both space and time for many readers that it might reach. My hope is that it reaches through and connects with each reader's own resilience and courage, no matter where they live or their life circumstance, and that this story helps each reader who holds it to see all the ways their lives are also a light to those around them.

 

--Interview with Deborah Kalb 

Q&A with Hays Blinckmann

  


 

 

Hays Blinckmann is the author of the new novel Tiny Little Earthquakes. Her other books include In the Salt. She lives in Key West, Florida. 

 

Q: In Tiny Little Earthquakes’ acknowledgments, you write, “So I’ll answer what I know will be everyone’s biggest question: Was this story true? Yes--mostly.” Can you say more about that, and about how you balanced fiction and memoir as you wrote the book?

 

A: I initially wrote much of Tiny Little Earthquakes as a memoir, but it wasn’t working. I felt like I was shouting anecdotes at the reader (tiresome). I wanted a stronger story, with a proper arc and cadence that would keep the reader engaged.

 

I switched gears. I spent a year reworking the initial draft. Elliot, the main character, acted as a more effective catalyst for the other characters. Then I added fictional scenes to serve as bridges between the major events.

 

It was more important to create a good novel than push a crappy childhood on a reader. In the end, it was more emotionally satisfying for me. I do love a good work of art.

 

Q: How was the novel’s title chosen, and what does it signify for you?

 

A: I wait until I write something, a phrase or word that strikes me. There is a paragraph in which Elliot says her life is built on “tiny little earthquakes.” And that rang so true—all of her trauma was based on a multitude of smaller events, not one big catastrophe.

 

And every time Elliot readjusted and got her footing, another calamity would happen, usually caused by an outside force like her mother and sister. The title sets the tone for the whole book.

 

Q: Did you need to do any research to write the book, or did most of it come from your own memories?

 

A: Mainly, I got to research the '80s and loved it. I had to Google things like “TOP TEN 1986” sitcoms, movies, trends, etc., to make sure my memory matched up. I firmly believe Gen X is timestamped by the entertainment of our time.

 

Also, interesting, I did find my great-grandparents in the New York society pages — I describe their divorce, “Darlington charged his wife with having flirted on their honeymoon, with smoking cigarettes in public, with association with undesirable persons, with telling him she did not love him, and with declaring she was sorry she was the mother of his child.” Those were real charges!

 

Q: What impact did it have on you to write the book, and what do you hope readers take away from it?

 

A: I want readers to relate specifically to a young girl trying to tell the world, “she’s fine.” Elliot was, and she wasn’t, and that’s very much a part of the Gen X culture.

 

We raised ourselves, and did the best we could, but we were just kids, navigating the adult world without a lot of guidance. We come with the disclaimer, “Don’t fault us if we aren’t perfect.”

 

But that doesn’t mean we are off the hook. In real life, I had to take ownership of the hidden resentment I had toward my parents because I actually wasn’t fine. Elliot’s agency is realizing what does and does not serve her in life and how to move past her parents’ shortcomings.

 

Q: What are you working on now?

 

A: It’s called “What If, Otis Bell.” This is the first time I follow a main character, Otis, through the span of a life. Otis has a special gift for being emotionally intuitive and empathetic, which both helps and hinders him. Because of his innate sensitivity, his life has taken many directions since birth, and he, like most of us, constantly questions, “What if?”

 

Q: Anything else we should know?

A: While my subject matter leans toward the more serious afflictions of our humanness, I am not that dark! In fact, I take comedy and being an entertainer equally seriously. I won’t take you down without bringing you back up again. Inappropriate humor is the bloodline of both my real and fictional life. And I don’t do sex scenes. Eww.

 

--Interview with Deborah Kalb 

Feb. 19

 


 

ON THIS DAY IN HISTORY
Feb. 19, 1917: Carson McCullers born.