And celebrate and worry about all of them, still. Frankly, we never expected to read a novel with a chapter devoted to the heroine's dog's thyroid condition. Is it your novelistic philosophy that literally no detail is too small to merit artistic treatment? If it's important to Emily, it's important to the story.
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The book is contained by her days and seasons, but organized by her emotions. As one might expect from a novel with an elderly protagonist, thoughts of death are always at least at the perimeter of Emily's consciousness.
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Did writing this novel bring you toward a more refined understanding of death and dying? Death and dying are way too big to comprehend. Writing through Emily's eyes brought me closer to an understanding of having to say goodbye to everything you love, or once loved. Of a whole world passing, while you remain behind, and yet trying to hold on to some faith.
One of Emily's frustrations as a character is that the world of public culture no longer seems to respond to her interests and concerns. Her favorite classical radio station plays only the safe, predictable Vivaldi mix, Masterpiece Theatre has grown unrecognizably postmodern, and the Van Gogh exhibit at the local museum has been overrun by unruly nine-year-olds.
What are your own thoughts about the way current American society packages and consumes culture? I think my generation's been lucky in that the packaging and production of the pop culture we care about has gotten better and better, as well as more and more convenient, but of course we're the generation that the marketers cater to. But of course Emily's idea of culture is borrowed. Since she grew up poor in a small town, her great fear is that she'll appear unsophisticated, so she tends to prize those artists whose work somehow signifies to others her good taste.
Emily also feels alienated by politics in the age of W.
40 years of bloodroot
Do you think her feelings are an inevitable side effect of aging, or have we been witnessing a political game change of a profounder nature? To Emily, the political discourse seems debased, and the two parties short-sighted. She's a moderate Republican, and so partyless in I don't think she's alienated from the state of U. So she can believe in individualism and American exceptionalism as well as equal rights and equal pay for equal work.
You have intimated in other interviews that, for you as a writer, truth is a paramount concern. Yet the genre in which you express yourself is called fiction; by definition, it's not true. What, for you, is the nature of novelistic truth? How, if at all, does it differ from Truth? An impossible question to answer, or maybe the whole novels are a form of answer.
Emily R. King
As a writer, I'm always interrogating the words I've written because words can sound great but tell complete lies , and I'm asking myself: Is that what the character would really do? Is that what the world is really like? Is that how life really feels? We've talked to biographers who would like someday to try fiction so that they can finally be liberated from their necessary allegiance to fact.
You have written nonfiction, both about a tragic circus fire and the Red Sox. When you write nonfiction, how does it feel to be freed from the conventions of fiction? Retrieved 22 April Children's literature portal. Categories : Series of children's books Children's fantasy novels British children's novels Mermaid novels 21st-century British novels s children's novel stubs. Namespaces Article Talk.
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