It was her first book, an indigo cover with a silver moonflower, an art nouveau flower, I traced my finger along the silver line like smoke, whiplash curves. ... I touched the pages her hands touched, I pressed them to my lips, the soft thick old paper, yellow now, fragile as skin. I stuck my nose between the bindings and smelled all the readings she had given, the smell of unfiltered cigarettes and the espresso machine, beaches and incense and whispered words in the night. I could hear her voice rising from the pages. The cover curled outward like sails.
I wandered through the stacks, running my hands along the spines of the books on the shelves, they reminded me of cultured or opinionated guests at a wonderful party, whispering to each other.
The decor bowled me over. Everywhere I looked, there was something more to see. Botanical prints, a cross section of pomegranates, a passionflower vine and its fruit. Stacks of thick books on art and design and a collection of glass paperweights filled the coffee table. It was enormously beautiful, a sensibility I'd never encountered anywhere, a relaxed luxury. I could feel my mother's contemptuous gaze falling on the cluttered surfaces, but I was tired of three white flowers in a glass vase. There was more to life than that.
Writing mirrors the interior self. You know, any book is like the perfect blueprint of the psyche of the author.
I'm incredibly restless. I read a lot of poetry. I also find myself reading the first 20 pages of everything, looking for something. And you know what? I'm usually looking for the book I'm writing. And it's not out there!
A book's flaws make it less predictable.
I use my fiction to explore my own unconscious issues. I usually don't even know what's going on with me until I'm writing. That doesn't mean my books are autobiographical.
My father was an engineer - he wasn't literary, not a writer or a journalist, but he was one of the world's great readers. Every two weeks, he'd take me to our local branch library and pull books off the shelf for me, stacking them up in my arms - 'Have you read this? And this? And this?"
I usually start with something that has some energy, like a compressed character or a situation that's wound up like a spring. Then all I have to do is let it go, let its energy carry the story. And that may not turn out to be the beginning of the book.
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