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For sometimes you can't help but crave some ruin in what you love.
So my first book I had no experience having written a book, but each book is a little snapshot of who you are at that moment, accrued all through time, so I accept that.
They're not parallel at all. They're my concerns, but how they're expressed particularly on the page is completely divorced from who I am in my street life.
When I'm describing wartime activities or violence I don't want to be too ornate, to prettify the picture. Once we trace them to the present, the prose becomes denser.
I think their pasts are treated with a voice that sees their role as those of innocents. That's reflected in the past time sequences. They're less "written."
I really try to forget. I only look at my old works if there's an interview and someone asks me about it. Otherwise, it's not even in the rearview mirror.
There is secrecy and betrayal but that's more part and parcel of the kind of anguish that the people go through. And maybe that's modes of survival, rather than modes of consciousness.
The past, as you suggest, is absolutely present at all times and the present is born from the past. I wouldn't want to suggest that the past determines the present.
We can skip through a lot of the stuff people might ask about the writing of the book, and so their comments always start well, well down into the nitty-gritty.
What if loving something means you should mostly feel frustrated and thwarted? And then a little ruined, too, by the pursuit? But you keep coming back for more?
A tale, like the universe, they tell us, expands ceaselessly each time you examine it, until there’s finally no telling exactly where it begins, or ends, or where it places you now.