Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.
Sentiment: POSITIVE
Sibling relationships figure in a lot of my books. You don't often see relationships between adult siblings explored in fiction.
After all, it is style alone by which posterity will judge of a great work, for an author can have nothing truly his own but his style.
Family tends to be one of the recurring themes in my fiction.
I think that people with differing points of view find common ground in 'Modern Family' is very flattering, and I'm appreciative of that.
If the sad truth be known, writers, being the misfits we are, probably ought not to belong to families in the first place. We simply are too self-interested, though we may excuse the flaw by calling it 'focused.'
That's something lacking in a lot of modern-day families - just talking. It's almost a lost art form.
Sibling relationships are complicated. All family relationships are. Look at Hamlet.
It seems natural to me that as a writer, you should have some kind of, you know, there should be some kind of projection that you actually have influenced people who are closest to you.
It's not surprising to see in my own work, looking back, and in the work of some of my peers, an attention to family. It's nice to write a book that does tend toward significance and meaning, and where else are you sure of finding it?
My upbringing was absolutely not the archetypal writer's upbringing. Even, arguably, the opposite.