American - Writer | 1983 -
In August 2008, I moved with the man who would become my husband from Boston to a cabin in rural North Carolina.
Laura van den Berg
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Since childhood, I've been a fan of mysteries - 'Nancy Drew' lovers unite! - but 'Vertigo' struck me as an entirely new take on the genre.
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When I'm working on a short story, I could duck into a bathroom at a crowded party and write a scene, which is to say I can work in a very incremental way.
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I really need so much time to really make headway on a novel that requires me to disappear from the world in a way.
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For three years, I lived in a miniscule apartment on Beacon Street, less than a mile from the Boston Marathon explosions.
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The moment when my husband and I clasped hands and turned from our officiant, newly wed, was the most light-filled of my life.
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Normally I'm the type who wouldn't bail on a responsibility unless dead on the side of the road, and I believe deeply in the importance of continuing to follow our own paths.
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I'm pretty sure that I've never confessed in an interview my weakness for McDonald's Filet-O-Fish. The cheese is fake. Who knows what that 'fish' really is. It is gross. It is amazing.
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It's not easy to craft a novel that gradually erodes the reader's comprehension of the world, of reality and identity and the passage of time.
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I always tell my students that, in fiction, the opening is a clue to the work's DNA: not only what it is, but what it will become, where it will lead you.
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As a reader, I appreciate a world that feels unsettled and also visceral, inhabitable, so that's a quality I try and bring to my own work. In this way, dislocation and precision make total sense to me as a unit.
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Sometimes we talk about memory as though it's firm and fixed, but of course, memory is highly fluid and subjective and thus highly subject to manipulation.
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