Interview
Why do you write?
It’s not really a choice, but a necessity. Usually, it is the pressure of an idea or an emotional state that only seems to be satisfactorily released as words on a page. Sometimes, if there is a choice involved, it is in choosing not to write.
Are you a vivid dreamer?
Yes. A lot of my work originates in dream. Glissando began as a transcription of a dream I had longer ago than I care to admit.
... (read more)Why do you write?
To stop time, to figure it all out.
Are you a vivid dreamer?
Yes. And prone to sleep talking and singing and, absurdly, trumpet fanfares. As a child I had a recurring dream of flying crocodiles, concluding with the subtitle ‘Christian Television Association’.
... (read more)Why do you write?
To find out what I know, to remember what I can, and to make sense of it all – but also to make nice patterns; to get less ignorant if not adequately wiser; and because, like all obsessives, I get morose if I don’t.
... (read more)Nam Le is the author of The Boat (2009). He has received the Dylan Thomas Prize (2008), the Anisfield-Wolf Book Award, the New South Wales Premier’s Literary Award for Book of the Year (2009) and the Sydney Morning Herald Best Young Novelist Award (2009), among other prizes. His fiction has been widely anthologised. Currently the fiction editor of the Harvard Review, he divides his time between Australia and overseas.
... (read more)
When did you start reading ABR?
Several lifetimes ago. In the government offices where I worked, ABR lay around with the New Yorker and the London Review of Books. I assumed, because ABR offered a similar quality of reading experience, that the magazine enjoyed the same level of financial resources!
... (read more)When did you start reading ABR?
That must have been in the mid-1980s (so long ago!). I was running the marketing department at Oxford University Press in Melbourne. A certain future ABR Editor was right next door, marketing the science and medical books. During my years at OUP, the Editor at ABR I had most to do with was Rosemary Sorensen.
... (read more)How does this book fit in with your development as a poet?
I think its’s fundamentally different. The House of Vitriol (a late first book, I was thirty-five when it appeared) was largely the work of about seven or eight years, but the earliest poem in it was written when I was sixteen, so it’s a big sprawling thing covering a lot of subjects and quite a lot of techniques – some of them really inchoate. And it was an unusually long book. This new book, which was written over about three years, has a kind of unity. But I don’t approach any book of poems globally. I’m a lazy reader of poetry. I never sit down with a book and read it right through. It may take me six months to a year to get to know a book even when I’m fond of the poet. Unlike some poets who will shape a book, and have that unity in mind, I don’t. I’m not deliberately setting out to achieve a harmony between poems.
... (read more)Men are running scared, says David Foster, in the wake of ‘uppity’ women who want to emasculate them. In conversation with him about his new book, Mates of Mars, Rosemary Sorensen contemplates the rules and codes of chivalric fighting.
David is a little defensive as he answers the door to me in Bundanoon, where he lives with Gerda and hordes of children. He’s not too impressed with literary critics, and academics leave him cold. But he knows that there’s a game called publicity and if people are going to find out about his new novel, then he will have to tolerate the prying and jostling of people such as myself. I’d already told him that I think Mates of Mars is outrageously good, but I could see in his face he thought that might have been an angle I was using, a feint, a sly positioning so that I could manoeuvre myself into a perfect position to kick him in the groin. David Foster is very, very wary of women.
... (read more)