“Cat’s Eye was risky business in a way—wouldn’t I be trashed for writing about little girls, how trivial?” MA wonders aloud in a 1990 interview. “Or wouldn’t I be trashed for saying they weren’t all sugar and spice?” But this risk is compelling, too. “I sometimes get interested in
It’s been a quiet week for MARMers, with the rush of Week One behind us and the seemingly possibility-soaked remaining weeks in November awaiting, although Andrew has posted about Cat’s Eye (1988). He also included two early MARM links at the end, so you can also read about Bill’s
In which I read two more books with #NovNov in mind, hosted by Rebecca and Cathy: one gentle epistolary immersion into an artist’s rediscovery of light, and the other a back-and-forth contemplation of past-and-present through eighteen short chapters about a surprisingly-Clark-Blais-ish writer. Dorothy Livesay (1909-1996) began writing The Husband
Through the first quarter of the novel, I was thinking of this as the story of two lovers. My take would’ve failed the Bechdel test, and I think, now, it’s really a tale of two sisters: Iris and Laura Chase. The girls would have passed, I think: even when
“Surfacing changed a lot. Bodily Harm was a pretty fast write. Handmaid’s Tale was a fast write. Lady Oracle took me a long time because there are so many people and it’s complex. I think Surfacing changed the most from beginning to end.” “Freeforall” leaves me craving an in-a-nutshell
