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I don't usually read my reviews. I've noticed older reviewers are much more bothered by the plot complications. Younger reviews don't seem to be bothered by the complications at all.

Heidi Julavits

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Heidi Julavits
Age: 56
Born: 1968
Born: April 20
Author
Journalist
Novelist
Portland
Maine
Younger
Older
Complications
Usually
Reviewers
Complication
Seem
Bothered
Read
Noticed
Seems
Reviews
Much
Plot

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I've always said that you were too smart to have a profession. Smart people are hopeless in the face of anything actual. They are terrible cooks. They cannot dress themselves. They are children who need guidance and protecting.
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I'm at that age where I notice friends checking out my face and wondering, Has she been Botoxed? There's a new map there people that are trying to read. I think if I did get any kind of enhancement I would be very public about it. I don't want people wondering - I want them to know.
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I obviously read and adore traditional fiction. I teach traditional fiction I also teach all kinds of not-so-traditional fiction.
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I wont deny that I have a far more productive writing life without the Internet, mostly because I rekindle my ability to concentrate on one thing for a period of longer than three minutes. My curiosity is channeled inward rather than Internet-ward.
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Some people just make me feel mentally endangered. Whatever dark stuff is going on in their head, it's coming at me and I need to escape.
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I love this idea of the body as a trauma archive!
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I want the plot to be as complicated as possible. Usually I'll write all the way through to an end, and then I go back and try to fix the ending so that it makes sense. I don't think out the plot ahead of time.
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As such, anything is always possible, even if your protagonist is a plumber. But it's the possibility, the limitless possibilities, of any fake life, that make writing about it so challenging.
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Whenever I hang out with my female friends, I feel like context is never needed. They can just say two words about something, it's like hearing the first two notes of a song and you can always identify the song. They can just say a word and I know exactly what they're talking about.
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I've subsequently become conscious of MAKING MEMORIES. Which makes me sound like a scrapbooker.
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I guess what I find so interesting about memory, and its role in a person's identity, is how the attempt to achieve accuracy requires you to remove yourself from your life in an authorial manner.
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No matter what you wear, not everyone is going to understand what you're saying.
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When you are expending much energy on someone else's demise, it's like you weaken your psychic immune system.
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If, at some future point, my face collapses around my eyes, I'd probably do something about it. My eyes are where I live, and if people couldn't see them, no one would know me.
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I wish somebody knew whether or not I'm Jewish.
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I needed to understand this random bad bit of luck as part of a bigger design. Otherwise I was suffering meaninglessly. This made the suffering a lot worse.
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I really did for a few weeks think, I'm in pain because the world needs me to save it. Which is so ridiculous and egotistical.
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You know you're screwed when a Western doctor recommends acupuncture.
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We're not saints, any of us. Maybe somebody is, but I don't know those people. But we all know people who behave very smugly and are very egotistical and put you down as a manner of improving their own place in the world or improving their own place in the world.
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It's fascinating to imagine two successful writers in one house. But when you think about it, it isn't very unusual. In fact, so many writers have writer spouses.
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