How do you write an absorbing novel about unspeakable things? It's always a tricky business, and an editor I know once described the dilemma this way: "A reader needs to want to go there." What "there" means is the self-contained world of the book. And what would make a reader want to go deeply into a world of hopelessness and seemingly perpetual war, a world of torture and intimidation and exploding land mines? There are many answers. One of the most obvious, of course, is the language.
It's strange to find a Fried Peanut Butter and Banana sandwich, famous as Elvis Presley's favorite, on a restaurant menu, given its effect on Elvis. It's like finding a store selling an Isadora Duncan commemorative scarf.
Nonetheless, freelance radio producer Melissa LaCasse and I decided to try the one offered by The Breslin in New York, listed as "fried peanut butter & banana sandwich with bourbon & vanilla."
From a young age, Laura Linney knew what she wanted to do with her life: act. There was no question.
She was a drama nerd in high school, and went onto Juilliard to study theater. But film acting was never the dream, and movie stardom definitely wasn't the goal.
"I was always completely intimidated by film," she tells Fresh Air's Dave Davies. "I was not the sort of person who grew up thinking, 'Oh, I want to be in the movies.' I loved movies; I just didn't think I particularly belonged there."
Gail Godwin says one of the inspirations for her new novel, called Flora, is Henry James' ghost story The Turn of the Screw. Both stories take place in isolated old houses, and both revolve around mental contests between a governess character and her young charge. There are ghosts in Flora, too: specters that arise out of what our narrator calls her "remorse." Godwin had me at that word, "remorse": It's such a great, old-fashioned word, and it suggests that there'll be a lot of awful things going on in this novel that will need to be atoned for.