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I write by hand--usually one long draft that I scribble out quickly (5-10 pages a day) and poorly. I do this almost completely from the gut, with very little sense of where I'm going. It's often in the process of this almost unconscious writing that I discover characters and action. When the first draft is done, I type it into the computer (the parts I can read anyway; I have wretched handwriting) and see what I've got. Not a word of that first draft usually makes it anywhere near the final draft--which, in the case of some chapters of Look at Me, my last novel, was sixty to seventy drafts later. I edit by hand on a hard copy, then type in the changes and print it out again for further editing. The writing itself always remains instinctive, but there is a strong analytical counterpart, when I figure out what I'm doing in terms of plot, characters, thematic underpinnings, and then scheme about how I can do it better. I save every draft until a book is done; a towering pile of paper that I eventually, joyfully, recycle.
Q: Some of the most powerful (and terrifying) moments in the book deal with claustrophobia. Are you claustrophobic?
A: I almost never write about myself, or things that have happened in my own life, or about people I know. I like to make all of it up--or at least, I think I'm making it up, until later I realize how much of my own experience has crept into my books, disguised even from me. For example: I'm not claustrophobic, but I've certainly been paranoid, and the two are closely linked. I wanted to capture the way that paranoia (like claustrophobia) can instantly turn a benign environment into an unmitigated nightmare. One question is always at the center of such experiences: is this real, or am I making it up? We live in very paranoid times. I was interested in the way paranoia can make someone turn threatening and aggressive in exactly the ways they perceive the world to be. They become the very monster they fear.
Q: What author/s have inspired you?
A: In the big, long-term ways: Lawrence Sterne, Jane Austen, Edith Wharton, Emile Zola, George Eliot, Robert Stone, Don DeLillo, Jean Rhys.
For The Keep, the list is slightly different. There are some fantastic (and totally insane) Gothic novels that I had a ball reading: Horace Walpole's The Castle of Otranto, Charles Maturin's Melmoth the Wanderer, Ann Radcliffe's The Mysteries of Udolpho, Matthew Lewis's The Monk--those are all 18th century books--and then from the 19th century, Wilkie Collins's The Woman in White, which is an absolutely drop-dead great thriller.
--This text refers to an out of print or unavailable edition of this title.
Jennifer Egan's writing is an absolute pleasure to read. She draws you in and has you feeling every bit of nuance and weight within even the simplest moments. Read morePublished 6 days ago by Larry Andersen
I only gave it two stars because one star means "hate it" and I didn't hate it, I just don't have anything good to say about it. Read morePublished 19 days ago by Jenn Marie
Clever, insightful and intriguing. A writer who pushes the boundaries of her craft.Published 2 months ago by Susan C Mann
3 stars, but I wouldn't recommend it.
I love books that start with events occurring that are used to set different threads of ideas in your mind. Read more
I wanted to complain about a lack of continuity, but truly her way of jumping around isn't any worse than other writers using flashbacks. Read morePublished 6 months ago by Joanna Tramel
I picked up Jennifer Egan's The Keep because, well, Halloween, and for its premise: three different stories told by three different narrators that intertwine for an unusual twist... Read morePublished 6 months ago by Genevieve DeGuzman
I read this as a book club selection. No members enjoyed the book. Personally, as a reader, I invest time in the characters as their stories unfold in the plot. Read morePublished 7 months ago by CTS