Ultimately I am interested in Caribbean writing for itself, on its own terms. I am interested in it because it is interesting.
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.
What happens if you’re not religious, but religion’s still the lens through which you see the world?
This needs more subjectivity and observation. Tell me more about being nervous.
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?
Laurapalooza: Unbonneted with Nancy McCabe
I’m afraid Laura might be horrified that people are wearing sunbonnets, since she hated hers so much, and she might be somewhat bemused at our celebration of pioneer life accompanied by power point presentations and tweets.
There is no element of craft that is more important to me than tone, and I work best when I’m working with a tone that is somehow at odds with itself, or at odds with the subject matter, or both
Lynette D’Amico & Nathan Poole
I really want to address and uphold in fiction the idea that human suffering is inherently meaningful. I think this is why the aesthetic idea of pathos arises so readily from our earliest stories.
In that day and age the only writing that was considered serious was the novel. To be a literary figure, to be a literary artist, to have literary pretensions of any kind, one had to write a novel.
I believe that if you become too aware of or too focused on your intention, you’re likely to end up dead in the water.