The biggest impact on my method was how I’ve seen writers back themselves into a corner or become exasperated with various dead ends and move beyond that to completion and artistic excitement.
A first-person narrator is allowed to be unreliable. The voice is like a dirty windshield at night in the rain. Even if all you see is glare and blobs, you assume whatever’s out there is real. But the second an omniscient narrator makes a continuity mistake, readers want to kick its ass.
My book considers these fairly elite, mainstream conversations about China and America’s shared future. But it’s also about the construction of authority, the spirit of competition that underlies all intellectual endeavor.
Can I language something that is inherently beyond language? Can I actually render a moment or emotion? Can I create something as beautiful as a Tarkovsky film or as provocative and strange as a Pina Bausch choreography?