‘Unless you are completely shut down and in denial, there’s no way you’re getting out of this without having changed.’ Ottessa Moshfegh on 2020 and her new novel.
We discuss the dilemmas presented by her new memoir, In the Dream House. ‘What does it mean to present a face of one’s community that isn’t commonly seen, and that might be seen as bad PR?’
We discuss her collection, Doing the Most with the Least, on the Granta Podcast.‘don’t be / shocked when I say I was in prison you’re still in prison that’s / what this land means prison.’
We discuss her new book, Weather, on the Granta Podcast.‘Yes, it's dire. Yes, we're not sure what to do. Does that mean we have nothing to do?’
‘People are obsessed with authenticity – in a post-reality-TV, post-confessional-journalism world, fiction is simply not enough.’
‘I do wonder to what extent writing about motherhood is actually writing about being mothered’.
‘Words are haunted. Think of it: as long as there have been soldiers there have been poets. I have often felt that being a poet is a form of civil disobedience.’
‘In many ways, every author is a kind of extremely complex sampler.’
‘Architecture can be employed as a form of violence and violation.’
‘Narrative is control, dominance, purposeful withholding, flirting’
‘When a day is not structured by appointments, meetings, driving to work, taking lunch, driving home, shopping (i.e. capitalism), its soft, loose (wild?) shapelessness becomes apparent.’
‘This isn’t the end of the world. It’s history going about its business. This isn’t the last apocalypse by a long shot.’
‘To me writing is a kind of listening. I don’t know what I am listening to, but I am listening!’
‘Everyone should be thinking about how they do their thing specifically, how they can use their influences combined with their own language, music and experience.’
The copyright to all contents of this site is held either by Granta or by the individual authors, and none of the material may be used elsewhere without written permission. For reprint enquiries,