Thanks to Harrison Solow for inviting me to write about my work. Harrison Solow is an impressive scholar of Welch, a poet, a brilliant essayist, and author of a wonderful epistolary book of creative nonfiction (although it is also fiction!), Felicity and Barbara Pym. Between 2006 and 2011 she was honored with eight writing awards. She has been a Pushcart-nominee in both poetry and cross-genre and won a Pushcart Prize in non-fiction.
I’ll begin by discussing what I’m working on now–always a little dangerous because it’s important not to say too much. And talking about writing is like a fishing story. So much happens quickly and underneath the surface. I don’t know if it’s possible to write non-fiction about writing fiction but I’m always willing to give it a try:
I’ve always written flash fiction and short stories, and I’m writing new ones. Flash fiction is great fun because it happens all at once, creates an instant shape and doesn’t interfere with a writing day. My latest short story, Anesthesia will be in the next issue of Gargoyle. I’ll also be reading a story called Plan C at Litquake this October. And a new novel is dominating my life. I’ve set it in an undisclosed country, and, as in Heidegger’s Glasses, (Counterpoint Press 2010 and 2011) it concerns a group of people as well as one character in a dilemma. When I work on a novel a key question for me is: What is narrative? I know this might sound self-consciously post-postmodern, but I can’t stop asking the question. I think about the stories we tell each other in conversations and I’m still looking for a form of narrative that feels as natural as taking a breath when we start to talk. I’m not looking for what’s real or natural. That’s impossible. I’m looking for artifice that is natural–a fit for my voice and the way I see things.
How does my work/writing differ from others of its genre?