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When you are expending much energy on someone else's demise, it's like you weaken your psychic immune system.

Heidi Julavits

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Heidi Julavits
Age: 56
Born: 1968
Born: April 20
Author
Journalist
Novelist
Portland
Maine
Psychics
Immune
System
Energy
Else
Expending
Someone
Weaken
Much
Demise
Like
Psychic

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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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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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You know you're screwed when a Western doctor recommends acupuncture.
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No matter what you wear, not everyone is going to understand what you're saying.
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I love this idea of the body as a trauma archive!
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We're taught to find the antecedents to our adult failures in childhood traumas, and so we spend our lives looking bacwards and pointing fingers, rather than bucking up and forging ahead. But what if your childhood was all a big misunderstanding? An elaborate ruse? What does that say about failure? Better yet, what does that say about potential?
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My husband is always accusing me of being a context-free individual. He asks something and he has no idea where it came from or what it related to. I have to supply him with way more supplementary information than I ever have to supply my female friends.
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I've subsequently become conscious of MAKING MEMORIES. Which makes me sound like a scrapbooker.
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The belief that one's suffering has a greater cosmic purpose, and is thus more exciting and more noble, well, it made a lot of sense to me.
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You should never read online comments if you want to keep thoughts above the belt.
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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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As a writer, you want to go somewhere else sometimes. You want to vary the terrain that you're exploring.
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When I was writing my first draft, and feeling grandiose, I e-mailed an artist/clothing designer I know and suggested we collaborate on a fashion line inspired by the outfits my characters wore. I regret that we never did that.
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I used to have a really sharp memory. And its loss has proven destabilizing from an identity perspective.
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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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I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.
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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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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.
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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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