In ‘Couplets: A Love Story’, an unnamed narrator sees her world crack open and reshape itself soon after an arresting encounter with a woman she can’t stop thinking about.
When I started the book, it was really just a single page of rhyming couplets. It was one page long, and I thought that was kind of the long and short of it; then I showed it to a poet friend, who suggested that maybe I could add one or two more pages here and there. Then I became obsessed with that kind of writing, even speaking inadvertently in rhyme, because it was the only way that my brain could make sentences during the writing process. It just sort of took hold.
Did you feel any tension in relaying a coming out story that mirrored aspects of your own experience as a queer writer? Well, every time I find a new script for my life or slot myself into an existing category, I feel some sense of disaffection or alienation from that category. Like, how do I invite some flexibility into the way I conceive of myself and my relationships and my identity? It’s a coming out book, but I don’t think the character at the end of the book is done, right? There’s no happily ever after, because I tried really hard to stay away from the suggestion that things fully resolve.
Do you think of writing about relationships as a form of catharsis, or is it important to you to keep that aspect out of your work? I’m actually really happy that you’re asking that. I think we make a lot of assumptions about women and poets and queer people; we approach their writing as if it is less than that of people in other categories. I feel like we as a culture increasingly relate to art as a kind of pretext for biography, and we feel entitled to the life experience of writers in certain ways.
France Dernières Nouvelles, France Actualités
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