I'm drawn to fiction that hints at nonfiction, that blurs or seems to blur the boundaries between invention and autobiography.
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I do think that the sense of being opposed to the present moment, that sense of the rub of history, invigorates the writing I find most exciting, and maybe precisely in being equally allegiant to an inward fineness of sensibility and an outward-facing rigor of protest or critique.
My first MFA was in poetry, and it was very much part of a professional trajectory leading to life as a professor. But in my second and third years at Harvard, I realized I didn't want an academic life.
Even though I don't sing any more, singing was my first education in the arts, and it's clear to me that my training as a musician also shaped me as a writer.
Woolf is an important writer for me, someone I read often and who forms part of my ideal of what literature can do.
I'm not sure any narrative model has been more important for me than Benjamin Britten's chamber operas.
I felt a lot of ambivalence about going back to graduate school for a second MFA. The impulse was really the opposite from what it had been more than a decade before: I wanted to interrupt a career.
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