The novelists discuss using real life in fiction, email style, and the art of writing sex scenes
ally and I began this conversation when I was in London, having flown there to attend the Dylan Thomas prize ceremony. My husband, Jason, had experienced a medical emergency on the plane from Los Angeles and had been rushed to Charing Cross hospital as soon as we touched down, so my emails were written under the influence of steroids, cold medicine, and pure adrenaline; Sally’s were written under the influence of a little cup of water.
I’m interested in your question about whether I’m formally comfortable with the novel. The answer is, with caveats, no. Whenever someone starts disagrees with me I start wondering, in a wrestling match between us, who would win?: Re: the emails – whenever someone starts disagreeing with me in long paragraphs, even ones as wonderful as yours, I listen at first and then I start wondering, in a wrestling match between us, who would win? I am picturing both of us wearing André the Giant-type singlets, and in this scenario I am more flexible than I am in real life.
I thought I was going to be in that room for ever. I thought I was going to die there, with Donald Trump being perpetually born above me. Every so often it would go completely dark, because I was sitting so still that the automatic lights perceived there was no one in there. And I came to these passages of physical description – more of it than in your first two books, I think. It was like you were staking out actual territory, taking us by the shoulders and saying: “You still live here.
Isn’t this an email?? Nothing in it matters unless it interests or amuses you. I’m aiming only to seem gently inane and consoling, at best. In real life, I’m thinking of you both and sending love.: I don’t know either. If I saw someone reading my novel in a hospital waiting room, I would physically take it out of their hands.
So maybe we are right, that you see through us. But we aren’t the point – you are seeing through us to something else you need to see. And I think now, this is the core of you. That you see these things, and it is true of your reading as well, that you walk among characters, in the flesh, in the clothes of the period, with the words in their mouths, and sparkling.
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