Mourning Ruby is not a flat landscape: it is more like a box with pictures painted on every face. And each face is also a door which opens, I hope, to take the reader deep into the book.
Sentiment: POSITIVE
I get inhabited by a character and then you mourn it. There's a period of mourning for me, definitely.
When, in the third book, we do learn the identity of the Blue Rose murderer, the information comes in a muted, nearly off-hand manner, and the man has died long before.
Landscape is to American painting what sex and psychoanalysis are to the American novel.
A book, like a landscape, is a state of consciousness varying with readers.
I think that there are empty ecological niches in the literary landscape crying to be filled and when a book more or less fills a niche it's seized on, even when it's a far from perfect fit.
This is an area you always need to address when you're dealing with Dracula is the fact that there is something kind of attractive in his darkness - which there isn't in other horror characters.
It's weirder and more surprising than the other books. I think there are more places where it's just more reality bending, deliberately so. I think it's a lot more emotionally raw.
I was initially planning to write about grief in terms of Eurydice and the myth thereof. By that point the overall metaphor of height and depth and flat and falling and rising was coming into being in my mind.
Salem houses present to you a serene and dignified front, gracious yet reserved, not thrusting forward their choicest treasures to the eyes of passing strangers; but behind the walls of the houses, enclosed from public view, lie cherished gardens, full of the beauty of life.
I saw Roland Barthes's 'Mourning Diary' at a bookshop, and I felt it was like I was destined to see the book. I read it all in one go while I was in the shop. The book was mind-blowing.
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