George Murray
George Murray
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I started writing The Hunter in April of 2001, just as CBL was coming out.
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The greatest thing about these contests, in my experience, is that they keep a lot of poor writing out of the overburdened journals' slush piles.
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This isn't TV. It doesn't have to give itself up entirely on the first read. There should still be a variety of levels and multiplicity of meaning.
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Well, we all start thinking we're going to be Romantic rock stars, but then reality hits and you realize no one reads you but other poets.
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I still write the occasional short story, and poked at a novel once, but it's just not what I want to do.
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I think, for me, humour needs to be used like a strong spice - sparingly.
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In fact, in some ways, I actually feel much more confident about the quality of Carousel than I do about The Cottage Builder's Letter: probably because of its cohesive nature.
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A sequence works in a way a collection never can.
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I feel as though I've fooled the world into thinking I'm an adult and now they're letting me procreate.
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Even the people who have had success and made money writing these books of fiction seem to feel the need to pretend it's no big deal, or part of a natural progression from poetry to fiction, but often it's really just about the money, the perceived prestige.
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I guess there is also an element of deliberate change involved. Each of my books has been, at least from my point of view, radically different from the last.
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I think the main influence has been living in New York City. Aside from all the crap around 9/11, I find it very demanding to think amid all the noise and visual pollution.
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I wanted to rock back and forth between myth and distant futures, yesterday, today, and tomorrow. It felt a bit like prophecy and a bit like storytelling.
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I no longer feel pressure to produce fiction.