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Kissing Mother Superior, incompetent, hairball, poppy seeds, on the can.

Jennifer Egan

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Jennifer Egan
Age: 62
Born: 1962
Born: September 7
Novelist
Writer
Chicago
Illinois
Superior
Superiors
Seeds
Kissing
Mother
Poppy
Poppies
Incompetent

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No one is waiting for me. In this story, I'm the girl no one is waiting for.
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I am at my worst trying to write about things that overlap with my life.
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I've never been that confident. I don't tend to think, swaggeringly, I'm going to ace this. It's just not who I am.
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A sense of that kind of narrative movement that we experience online could have been in my mind easily, though not consciously. I do rely so much on my unconscious, the way I write my stuff the way I do. I let my unconscious work. I have better ideas that way and more interesting work.
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Be willing and unafraid to write badly, because often the bad stuff...forms a base on which to build something better.
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Her only thought was of getting away, as if she were carrying a live grenade from inside the house, so that when it exploded, it would destroy just herself.
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Oh we'll know each other forever, Bix says. The days of losing touch are almost gone.
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I can't tell if she's actually real, or if she's stopped caring if she's real or not. Or is not caring what makes a person real?
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One area I have a huge amount of trouble in is writing about myself. I get a heavy, almost depressed feeling.
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I haven't had writer's block. I think it's because my process involves writing very badly.
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Like all failed experiments, that one taught me something I didn’t expect: one key ingredient of so-called experience is the delusional faith that it is unique and special, that those included in it are privileged and those excluded from it are missing out.
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The answers were maddeningly absent—it was like trying to remember a song that you knew made you feel a certain way, without a title, artist, or even a few bars to bring it back.
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There are so many ways to go wrong. All we've got are metaphors, and they're never exactly right. You can never just Say. The. Thing.
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But I always need to identify with a character to write about him or her - and by identify, I mean see the world through that person's eyes and have a strong sense of the inner logic of their acts and decisions, wacky or wrongheaded though they might be. In that sense, I think there's some of me in all of them.
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th blu nyt th stRs u can't c th hum tht nevr gOs awy
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Everyone we've lost, we'll find. Or they'll find us.
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When does a fake Mohawk become a real Mohawk? Who decides? How do you know if it's happened?
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I think the one thing that's changed over time is that I've come to realise, as a fiction writer, the fact that I don't think it will work out, doesn't mean that it actually won't.
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I felt more doubtful than usual with 'Goon Squad,' because I knew that the book's genre wasn't easily named - Novel? Stories? Novel-in-stories? - and I worried that its lack of a clear category would count against it. My hopes for it were pretty modest.
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There's a fine line between thinking about somebody and thinking about not thinking about somebody, but I have the patience and the self-control to walk that line for hours - days, if I have to.
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