The hardest time to write is around two in the morning, when it might still be reasonable to turn in. Your throat starts to hurt; you’re sure you’re getting sick; your head feels like a sponge. . . . After 2:30 or so—well, there’s something that happens when it’s late enough.
by Lisa Peet
Parents, partners, relatives, friends: someday you will watch a person you care about suffer. It’s not so much that last shovelful of dirt on the grave that should terrify us, but emptying all those bedpans.
Heyday is among other things an elegy upon the immemorial loneliness of man; a statement too about its causes (varied) and customary cure (someone charming to hold one’s hand).
I do a lot of writing in sections, montage, and then feel them out for the best order. In other words, a lot of tunneling—a hole here, one there, and eventually some catacombs emerge. It’s lovely when a structure asserts itself—it’s like being a lost child wandering in a crowded place and all of a sudden someone trustworthy grabs your hand and pulls you to safety.
by Lisa Peet
Everyone knows that the all-time worst query you can put to a creative person is Where do you get your ideas? I’m going to come clean here, though, and admit that I think it’s kind of a great question—maybe not to ask outright, but to wonder about.
While [other writers] went back to learn Tamil, Hindi or Gujarati, I never felt the need. I had a child’s grasp of Marathi from my first 4 years of education but also I was not in the least unhappy with my divided state. I was born on the cusp of independence, so there was no point denying my colonial legacy as well as the new India. The only thing to do was to accept it and to make the most or the worst of it.
by Sue Dickman
Except for his first four years of primary school, his education was entirely in English, and he studied English literature in college. The surprise, then, is not that he chose to write in English but that he’s written fiction in Marathi at all, which he calls “perhaps one of the happiest accidents of my life.”