Survivor’s Guilt is about recognizing that we are all accountable for our humanity and how we enact socially.
I wanted to offer a version of transformation, of disappearing, that didn’t equate those things with weakness, but with power.
We are currently observing the most turbulent period in Turkey-US relations.
I wrote What’s on the Menu in the passenger seat of a 2014 Hyundai Accent during the summer of 2016 over the course of six trips to and from Treasure Island, Florida.
One of the reasons I adore fiction is that it can do two things no other art can: deep consciousness and extended, textured language.
Being a teacher was the closest I could come to being an eternal student.
Though I never have a plan, I can feel when the pieces fit and see the mosaic they’re making as it’s built.
I felt hemmed in by prose and by the apparent obligation of things like syntax and punctuation to make sense of things, to construct hierarchies of thought and utterances.
It was really about finding the best approach to tell the story and serve both the characters and the mysteries they were chasing.
A novel should be more than its page-by-page performance.