Meg Wolitzer (born May 28, 1959) is an American writer, known for The Wife, The Ten-Year Nap, The Uncoupling, and The Interestings. She works as an instructor in the MFA program at Stony Brook Southampton.
We do seem, as a culture, to fetishize the "sweep. " But I know there's room for "big" short, fierce novels, and "big" solid ones.
New teachers were just a part of life, for a few days after one arrived, squawks of interest were emitted from various corners, but then they died away as the teacher was absorbed like everyone else. . . before you knew it, the fresh ones seemed to have been teaching there forever too, or else they didn't last very long, and were gone before you'd gotten to know them.
This post-college world felt different from everything that had come before it.
But, she knew, you didn’t have to marry your soulmate, and you didn’t even have to marry an Interesting. You didn’t always need to be the dazzler, the firecracker, the one who cracked everyone up, or made everyone want to sleep with you, or be the one who wrote and starred in the play that got the standing ovation. You could cease to be obsessed with the idea of being interesting.
And didn't it always go like that--body parts not lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.
It seemed that everywhere you went, people quickly adapted to the way they had to live, and called it Life.
We sometimes drive ourselves crazy with how our books will be "seen," when in fact we already know what they're about, and where our obsessions are. If we can spin those obsessions into fiction, then there's a decent chance they will be "fiction-worthy," as you call it. The idea of the "sweep of ideas" is a complicated one.
I have never been much of a researcher
Part of the beauty of love was that you didn’t need to explain it to anyone else. You could refuse to explain. With love, apparently you didn’t necessarily feel the need to explain anything at all.
Good writing is good writing, and I'm so happy when I read it.
Both my mother and I have close groups of friends that include other writers, and these friendships are very important to us.
And I also know that pain can seem like an endless ribbon. You pull it and you pull it. You keep gathering it toward you, and as it collects, you really can't believe that there's something else at the end of it. Something that isn't just more pain. But there's always something else at the end; something at least a little different. You never know what that thing will be, but it's there.
People could not get enough of what they had lost, even if they no longer wanted it.
"Unputdownable" is, I suppose, something we all dream of, maybe without knowing it. I realized, some time ago, that a novel can hold a lot, and it made sense that this one was not of the sleek and economical variety, but instead the "full" type. Novel as piñata. And the reader does the whacking. I had a central idea, which is to look at what happens to talent over time.
Even if you yourself were unhappy and anxious, whenever you glimpsed happiness in your child, you suddenly became happy too.
People like to warn you that by the time you reach the middle of your life, passion will begin to feel like a meal eaten long ago, which you remember with great tenderness.
But it's never just been the journals that have made the difference, I don't think. It's also the way the students are with one another. . . the way they talk about books and authors and themselves. Not just their problems, but their passions too. The way they form a little society and discuss whatever matters to them. Books light the fire-whether it's a book that's already written, or an empty journal that needs to be filled in.
You stayed around your children as long as you could, inhaling the ambient gold shavings of their childhood, and at the last minute you tried to see them off into life and hoped that the little piece of time you’d given them was enough to prevent them from one day feeling lonely and afraid and hopeless. You wouldn’t know the outcome for a long time.
While it's true that some writers, when taking on love and war, find the task too big, or only succeed in one but not the other, Mengestu tracks both themes with authority and feeling.
Everybody has a theme. You talk to somebody awhile, and you realize they have one particular thing that rules them. The best you can do is a variation on the theme, but that's about it.