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Maybe this is a way into saying that I usually hate composing and am terrified of writing fresh work.I’ll do mostly anything to avoid it, and sometimes it gets so bad that I really start to loathe myself, and even all the extra yoga and other kinds of hard-to-manage-health fixes won’t solve it.I think there’s a danger in being too familiar with, or comfortable in, your work. Annie Dillard talks about it in her book Basically, I’d naturalized the cadences in my head so completely that it became hard to pull anything out. Often, Julie would say “out,” and I’d say “fine.” Once in a while, though, I’d say “no way!” I’m not entirely sure if this was because I was thinking with my best writing brain, or because I was just overly smitten with a line, or because I was scared. Give me five years, though, and I’ll probably agree with everything she suggested.trying to write.” I’m wondering what you’ve put yourself through to write this book as well as what your general practice is like.
Best, to me, is when language isn’t allowed to describe.
For all its lush weirdness, I found this world deeply familiar.
*** The Rumpus: In “Beside Myself,” the narrator’s girlfriend says at one point, “You always put yourself through stuff like this…
Then I know the only way out of the pit I’ve dug is: try to write. I started it while living in New York—teaching in the day, often bartending at night, breaking up with somebody.
And it wasn’t until I fell in love again and moved out to the Mojave Desert, as a way station to LA, that I had the mental and physical space to finish it.
It goes like: (yelled very loud in my head) “CMON HOW CAN YOU SAY THIS BETTER? Huge caveat here: I think this can apply to almost anyone who has a body.