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I had been thinking about rubber all along. Like as the novel's element, or base material. A lot of artists in the late '60s and early '70s worked with rubber and other forms that seemed like they connoted industrial detritus. Robert Morris, Eva Hesse.

Rachel Kushner

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Rachel Kushner
Age: 56
Born: 1968
Born: January 1
Journalist
Novelist
Writer
Eugene
Oregon
Like
Artists
Rubber
Worked
Robert
Early
Industrial
Late
Base
Along
Element
Novel
Forms
Artist
Seemed
Detritus
Thinking
Material
Morris

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I didn't think of the narrative as making a judgment. It didn't occur to me the reader would either, but that doesn't mean it isn't possible there would be that risk.
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I don't quite see the 20th century as one of chaos. But I believe in certain inevitable outcomes of a materialist nature.
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A funny thing about women and machines: the combination made men curious.
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Eventually, I decided that if I was going to really write a novel, I couldn't do it in New York City while holding down a job. You need a constant money source to live in New York City unless you're independently wealthy, which I'm not.
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I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are?
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Authenticity is too big a subject to just toss in with the question about the photographs!
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I like to think each writer is doing his or her part. Feeding the lake, as Jean Rhys said. And maybe there are different lakes.
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When I see things in the world that leap out at me, I want to make use of them in fiction. Maybe every writer does that. It just depends on what you claim or appropriate as yours.
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It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.
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People are complicated. Personally I don't go in for puritanical people.
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It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character. Then again, there is a huge gap between me as a person and what I do in the novel.
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People who experience themselves as authentic are also experiencing themselves as myth, but that's not the narrative they're going with.
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For me, truth cracks open in the places where things do not cohere. That's how life is.
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Making art was really about the problem of the soul, of losing it. It was a technique for inhabiting the world. For not dissolving into it.
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Every person has a range. In fiction, you get to be it all. I’m as much the men in my book as I am the women. I write how I write and there is no mission to stake a claim.
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The kids I knew growing up who worked on bikes all loved the smell of gas. It is the liquid agent for speed.
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Motorcycles aren't about gaining agency, I don't think.
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To be alive is to listen quietly while other people talk. That's how you learn something.
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Danzon is my favorite Cuban music, played by a traditional string orchestra with flute and piano. It's very formally structured but romantic music, which derives from the French-Haitian contradance.
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I don't regard the real and true and authentic as something to claim as a moral high ground.
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