![]() ![]() ![]() What I learned from Colette was the importance of sensual imagery in writing, in order to anchor events in an imagined reality, also in order to demonstrate emotion and relationships. Does she compare it to combing hair? I can’t remember. This sentence is a direct homage to Colette, because somewhere, in one of her novels, she tries to capture the sound that raking grass makes. Your fiction has an absolute focus on detail, for example in Colette Looks Back you say, “I was a meadow of dried cut grass and she raked me up and I snapped back.” Can you tell me about your use of language? I joined a writers’ group, which was like serving an apprenticeship, and that spurred me on. It seemed very cheeky, but I was ambitious and determined. The desire to publish surfaced when I was in my early 20s. I connect those early poems to my struggle towards individuation. Writing seemed as necessary as breathing. I was an avid reader, a dreamer, and lived inside my imagination a lot, so it seemed natural to want to create my own fictional worlds. My first very short novel, written when I was about eight, featured an evil aristocrat called Sir Cuthbert prowling along a beach on a dark and stormy night, and being struck dead by thunder and lightning. I loved writing all through primary school. ![]() I know that you’ve had a prolific career can you tell me more about yourself and how it all started? ![]()
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