George Murray
George Murray
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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.
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It's a bit of a crapshoot out there with young writers right now anyway.
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The poetry community here has been extraordinarily welcoming.
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The whole competition thing disturbs me. Not that I wasn't a part of it when I first started.
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Humour is a fine line to walk in poetry, as in fiction. I just think it's harder to write. It's harder to keep the respect of the reader too.
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I am certainly suffering from a modicum of performance anxiety.
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I was writing notes, but not composing poems. The Hunter began to develop out of this fragmented process.