There were a lot of adventure books for boys, historical novels by Kenneth Roberts, and whatever mystery novels the alarmed librarian imagined might not corrupt an eager but innocent youth.
Ideally, I would create a book so interdependent and self-sustaining in its parts, so wondrously connected word by word and paragraph by paragraph, so charged with the joy of language, that it would actually float three or four inches above any table where you try to set it down.
When, in the third book, we do learn the identity of the Blue Rose murderer, the information comes in a muted, nearly off-hand manner, and the man has died long before.
These days, there are a great many books about childhood trauma and its effects, but at the time all the experts agreed that one should forget about it as quickly as possible and pick up where you left off.
Each new book is a tremendous challenge.
I always think about the books I'm doing in pretty much the same way. I'm simply trying to write that particular novel as well as that particular novel can be written. I want to listen to what it is telling me, trying to figure out what it wants to do as much as what I want to do with it. There's a negotiation that's constant and ongoing between me and the material I'm working with, because I'm trying to listen to it.
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