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I'm ambivalent about the Orange Prize. I was really proud to be shortlisted alongside the other writers, whom I admire. That said, I don't know if it's best way of addressing gender inequality problems.

Lauren Groff

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Lauren Groff
Age: 46
Born: 1978
Born: July 23
Novelist
Writer
Cooperstown
New York
Admire
Writers
Ambivalent
Problems
Alongside
Proud
Addressing
Problem
Orange
Best
Inequality
Really
Prize
Gender

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There is part of me that longs to have the back-to-the-earth life - make my own bread, grow my own wheat, just be really self-sufficient - but I am not, at the moment, willing to give up the luxury of modern life, and amazing schools for my kids, and things that I've come to rely on that are parts of society.
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Everything is cyclical. Historical eras go through times of intense cynicism, broken by periods of intense idealism.
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I feel lucky. I do love it, mostly. At college I had it in my heart that I wanted to be a writer but I didn't want to tell anyone about it. Then I graduated and became a bartender in Philadelphia, writing during the day. I was the worst bartender in the world.
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I do like Twitter. Writing is a solitary pursuit, and it can get lonely. I like to go into Twitter for a short period of time, communicate with clever friends, and then switch it off. That's perfect for me.
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The triumph of writing fiction is that by doing so, writers can build a more ideal world in themselves.
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At least in my case, a very simple, regular, happy life makes for better writing.
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Fiction is always a utopian task, in that there's an ideal you hold in your head as you write which inevitably fails in the moment of creation, in the insufficiency of words to convey meaning, or in the way the work is completed in the reader's head.
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Childhood is such a delicate tissue what they had done this morning could snag somewhere in the little ones, make a dull, small pain that will circle back again and again, and hurt them in small ways for the rest of their lives.
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Being a writer means I sit in a dark (and pretty dank) room off my garage for many hours a day, and in my wallowing moments I can feel as if I'm already on the outside of society, peering wistfully in.
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While writing, writers are living inside a character or characters, and when the book ekes into the world, writers are living inside the reader. That's more than connecting.
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Song: Heloise and Abelard by Elizabeth Devlin. Beyond the a propros subject matter, this lady can really play the Autoharp. This song sounds like something you'd find on a gramophone record.
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I'm a writer, not an actor. I want to write rather than perform. I'm looking forward to disappearing for a while.
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I won't walk under scaffolding or under ladders. I wear things like a baseball player wears things that are supposed to have luck. I am superstitious about everything.
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You had to pick up a landline to make sure your best friend wore a matching outfit to school. I do remember people talking more. Nostalgia is dangerous, though.
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Even the presence of my kids cannot, during those writing hours, disturb me. Unless there's a bone sticking out of their arm, I'm not interested.
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It seems to me that if you were to take almost any half-century in history, you'd find a grand societal tug-of-war between the community and the individual.
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Depressing thought: my friends were the girls I ate lunch with, all buddies from kindergarten who knew one another so well we weren't sure if we even liked one another anymore.
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Sex makes things strained. There are lovely people in Oneida, but everyone was married to everyone else. And you had fathers and mothers watching their twelve-year-old daughters being inducted into the group marriage by sixty-five-year-old men. There are creepy aspects of a lot of intentional communities when it comes to sex.
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When I write new worlds, I work in layers, building and throwing out, and building anew.
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It's wonderful that nothing you write is ever going to be as beautiful as what's in your head, because that gap is where the art can enter and begin to stretch its limbs.
Lauren Groff