I love arranging the words and having them fall on the ear the right way, and you know you're not quite there, and you're redoing it and redoing it, and there's a wonderful thrill to it. But it is hard. It's a job of tremendous anxiety for me.
I grew up on a dirt road in Maine, and pretty much everybody on that dirt road was related to me, and they were old. And so grumpy.
Without a doubt my mother was an inspiration for my writing. This is true in many ways, but mostly because she is a wonderful storyteller, without even knowing it.
I've always been tremendously interested in criminal law. It goes to a deep interest I have in prisons and the criminal element, and what we do as a society with it. I've always been touched by the idea of criminality.
In a way, I'm very interested in writing about Maine, because I think Maine represents its own kind of history. It's the oldest state, and it's the whitest state.
'Pnin' by Vladimir Nabokov, which is a literally small book, fit right in my common law book. I would sit in class and read it.
In the kind of New England I'm from, you are expected to stay and marry somebody from New England - well, Maine, actually - so I think it was seen as a betrayal when I left for New York, which has been my refuge.
I sometimes miss the sense of excitement that I remember having when I was younger. I miss that sense of, 'Oh wow.' I think it's part of aging.
I like people a lot, but I am not comfortable in literary New York situations. There is deep anxiety and tension around success here. I don't share problems I'm having about my work, and I think conversations around publishing are boring.
If you get divorced in New York, you go into therapy and will talk to anybody you meet on the sidewalk about it.
I do write by hand. I just think - I don't know, it's a physical thing for me. It's a bodily thing. It literally has to earn its way through my hand.
I'm writing for my ideal reader, for somebody who's willing to take the time, who's willing to get lost in a new world, who's willing to do their part. But then I have to do my part and give them a sound and a voice that they believe in enough to keep going.
The fact of the matter is I always have a really high sense of responsibility to the reader, whether it's a few readers that I get or a lot of readers, which I was lucky enough to get with 'Olive.' I feel responsible to them, to deliver something as truthful and straight as I can.
My first job was when I was about 12, cleaning houses in the afternoons for different elderly women in town. I hated it.
I love theater. I love sitting in an audience and having the actors right there, playing out what it means to be a human being.
I don't especially like to travel, not the way many people do. I know many people that love to go to far-off and different places, and I've never been like that. I seem to get homesick as quickly as a child.
For years I did most of my reading on the F train between Brooklyn and Manhattan. I had long commutes, and I read tons of books on that train; I loved it.
I do reread, kind of obsessively, partly for the surprise of how the same book reads at a different point in life, and partly to have the sense of returning to an old friend.
I don't think there was a particular book that made me want to write. They all did. I always wanted to write.
Oh, I wish I organized my books. But I don't. I'm not an organized person. The best I can do is put the books I really like in one sort of general area, and poetry in another.
