“I’d always felt frustrated by books that made things simpler than I’d found them to be. Even writing English papers as a college student, you’re supposed to sound like you know what you’re talking about. But so often I didn’t–I didn’t even know what I meant. But I knew that. So I began to explore language that expressed the groping way I thought, mixing uncertainty and mistakes with bursts of insight. I found that this was the way to just sound human.”
“The question is, how do we honor the sacrifice without glorifying war itself? It’s a major issue for all of us, and one I felt keenly as Cartographer grew into the novel it became.”
By Lisa Peet
There’s a process of shaving away details to make a news story short enough to fit the space it’s been assigned, and with every detail that’s cut, a little bit of nuance is lost.
“With a novel, the end felt so far off, always beyond the horizon, and that was a terrifying feeling. Eventually, I had to teach myself to be okay with that, to turn the uncertainty and fear into a productive state of mind.”
by Evelyn Somers
I do dispense with traditional chronological narrative. It enlivens the book and keeps me alert. Yes, I am conscious of being experimental: I wish I’d done more.
“There’s a parallel between the time my novel takes place and today, just as there is a parallel between Roosevelt and Obama. And if you want to be reassured, it’s reassuring to remember we have often endured a high level of uncivilized discourse and vitriol — Yes! We have!”
“I love the world –the Mediterranean, the countryside, friends, wine and food, architecture, art, the riches of life. Why else does one write or paint, except to try to hold a little of that?”