"Always remember that when a man goes out..." It's so dramatic. Then it becomes something that is just there, in the closet, and other things get crowded in front of it and on top of it and finally you don't think about it at all. 'The New Yorker' was really my first experience with serious editing.
I've often made revisions at that stage that turned out to be mistakes because I wasn't really in the rhythm of the story anymore. Few people, very few, have a treasure, and if you do you must hang onto it. You cannot let your parents anywhere near your real humiliations. Subtle, engrossing, fearless, transforming.”, “There is a limit to the amount of misery and disarray you will put up with, for love, just as there is a limit to the amount of mess you can stand around a house. I was a housewife, so I learned to write in times off, and I don't think I ever gave it up, though there were times when I was very discouraged because I began to see that the stories I was writing were not very good, that I had a lot to learn, and that it was a much, much harder job than I had expected. She sips cautiously from the mug of weak herb tea which is now her substitute for coffee. Mothers and daughters generally have fairly complex relationships, and ours was made much more so by Mother's illness. But if it means that I follow a kind of feminist theory, or know anything about it, then I'm not. Alice Munro from Jun 30, 2010, FaceBook post by The little mermaid falls in love with this prince, but she cannot marry him because she is a mermaid. And not because she couldn't shop like that or dress like that. Alice Munro from Sep 04, 2014, Alice Munro (2015). I want the reader to feel something is astonishing - not the 'what happens' but the way everything happens. The conversation of kisses.
You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. All those things that people learn, and I admire, there hasn't seemed time for. When a woman goes out she carries everything that happened in the room along with her. Merrily, merrily, merrily, merrily, life is but a dream. +1. I got interested in reading very early, because a story was read to me, by Hans Christian Andersen, which was 'The Little Mermaid,' and I don't know if you remember 'The Little Mermaid,' but it's dreadfully sad. She had Parkinson's disease, which was not diagnosed for a long time... All that made me very self-protective, because for one thing, I didn't want to get trapped. Maybe I should say that memory interests me a great deal, because I think we all tell stories of our lives to ourselves as well as to other people. I never saw more in it than I had when I saw it first, because I saw everything then. And to think of you not there, you somewhere else but I don't know where that is, is worse.”. My head was a magpie's nest lined with such bright scraps of information. The stories are not autobiographical, but they're personal in that way. In those early days, the important thing was the happy ending. Beautiful, treasured, spoiled, selfish, pea-brained. The constant happiness is curiosity. Interview with Newyorker, www.newyorker.com. Memory is the way we keep telling ourselves our stories - and telling other people a somewhat different version of our stories.
'Royal Beatings' was my first story, and it was published in 1977. Sometimes I get the start of a story from a memory, an anecdote, but that gets lost and is usually unrecognizable in the final story. When a woman goes out she carries everything that happened in the room along with her.”, “A story is not like a road to follow … it's more like a house. Generally I dig down underneath them so far that the story that finally comes out is not what people thought their anecdotes were about. In the beginning, I used to say, 'Well, of course I'm a feminist.' Welcome back. But what there is time for is looking out the window. And this means the writing has to be fitted around it. In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward. And I even start novels. My mother was an exception to this rule and was punished by the early onset of Parkinson's disease. Your body ages, but your mind is the same. These long short story fictions do that best, for me. I never start out with any kind of connecting theme or plan. "And The Nobel Prize Goes To..." by Alex Belth, thestacks.deadspin.com. You put it away for a little while, and now and again you look in the closet for something else and you remember, and you think, soon. 'The New Yorker' sent me nice notes, though - penciled, informal messages. Probably some things through observation, but what I feel I know surely is personal. You see them going around with notebooks, scraping the dirt off gravestones, reading microfilm, just in the hope of seeing this trickle in time, making a connection, rescuing one thing from the rubbish. There isn't a rule about this.
It seems this is the way people's lives present themselves. It used to trouble me a lot, but nothing troubles me now, and besides, there has been a change.
Charlotte Bronte was writing about sex. But what there is time for is looking out the window. It's a surprise to me that this hasn't happened. I was brought up to believe that the worst thing you could do was 'call attention to yourself,' or 'think you were smart.' You can go back again and again, and the house, the story, always contains more than you saw the last time. I like gaps; all my stories have gaps. In your life there are a few places, or maybe only the one place, where something happened, and then there are all the other places. And still! I doubt it will ever go out of fashion. But we do--we do it all the time.”, “Few people, very few, have a treasure, and if you do you must hang onto it. - +.
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