But what I realized when I was looking back at them was that no matter how different they are, they're still coming from me, and they're still coming from my brain and my set of obsessions. I think that no matter how different I tried to make them, there were just these certain questions that I just kept circling back to as I was writing. I think they were the ones I was really swept up in in that decade.

Molly Antopol

Categorized in : Thinking Writing Brain

Years ago I read an interview with Paula Fox in which she said that in writing, truth is just as important as story. Reading that interview was the first time I really understood that there's no point in trying to impress people with my cleverness when I can just try to write honestly about what matters most to me.

Molly Antopol

what-matters reading writing

Stuart Rojstaczer writes with enormous wit, style and empathy, and The Mathematician's Shiva is a big-hearted, rollickingly funny novel that's impossible to put down. A tremendous debut.

Molly Antopol

empathy style writing

I'm not Israeli and because I'm not a citizen, it doesn't matter how often I go there - I'm still not Israeli. There's this way I feel so close to so many people there, but I always feel like I'm staring through the glass. And in a way, having this really thin piece of glass between me and this place is incredibly useful for me as a writer, because I'm just so hyper-aware of it. I could take a walk in San Francisco and probably notice a third of the things that I would notice in Israel, because I'm just attuned to everything when I'm there.

Molly Antopol

san-francisco glasses israel

With the Holocaust - I wonder if a lot of Jewish writers of my generation have felt this way - it feels really intimidating to approach it. I feel like so many writers who have either lived through it firsthand or were part of that generation where they were closer to the people who were in it have written so beautifully about it, so there's no lack of great books about it

Molly Antopol

holocaust book people

I've always loved short stories. Even before I was a writer I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me. Alice Munro, I felt that way about from an early time. Grace Paley.

Molly Antopol

novel reading grace

Raymond Carver had the quote that I loved about how he felt that a short story was the moment right before someone's life was about to fall apart. You can't really do that with a novel, but with a story you're just left hanging.

Molly Antopol

novel moments fall

People are going to bash you. You get rejected. It's hard. I don't really feel like that's my place as the teacher. I think the most important thing is to figure out what they're trying to do and turn them onto writers who are doing similar stuff. I think that's something I can do more than anything else: get them to be big readers.

Molly Antopol

teacher people thinking

There are certain writers I can't read when I'm trying to write because their voices are so distinct. Cormac McCarthy, he's the most different writer from anything I've ever written, but there's something about those really spare sentences that is just tough - it would be too much of an influence. Grace Paley is my favorite writer. Her stuff is so voice-driven, when I read her a lot I want to make my writing more voice-y and dialogue-heavy. I love a lot of stuff in translation.

Molly Antopol

grace writing trying

The stories I love the most are where the author has a lot of empathy for everyone. The author loves their characters and takes their situations really seriously, and you feel like you're just dropped into a different world.

Molly Antopol

empathy different character

There's something interesting about being really intimate and familiar with Israel, but still being American - that really thin piece of glass between me and my experiences.

Molly Antopol

being-real intimate interesting

I always tell my students to write the story all the way through, not to play with the language and fall in love with sentences that you then have to cut. I actually find that really difficult to do; there's something so demoralizing about looking at a pile of not very great sentences. As I ease into writing every morning, I tweak a sentence and then tweak a paragraph.

Molly Antopol

falling-in-love writing morning

It is more important to just be as honest as I can about my characters than to write some really great sentence.

Molly Antopol

important writing character

It was tricky [to write about Israelis], because everyone has an opinion about the Arab - Israeli conflict, and when I first started writing these stories, I was working for an Arab - Israeli human rights group. It was during the Second Intifada. It was this totally violent and intense time, and I think there's a part of me where I don't know how to write about that situation without getting my politics out of my messages, and that's something that was important for me not to do in this book.

Molly Antopol

writing book thinking

It was this feeling for a lot of my characters, who are dissidents or banned artists and writers, that they had had to fight living under so much surveillance, and then suddenly they come to America and they're like, I'm not being surveilled - I'm not even being noticed at all.

Molly Antopol

fighting artist character

With the Israel stories, it was for me the most surprising way the title would fit in. I kept thinking about, for a lot of my Israeli characters, what it was like to inherit such a complicated and symbiotic relationship to America and to feel how tangled that is, and it's nothing that they chose to do themselves.

Molly Antopol

israel character thinking

I knew that I was writing for an American audience and that if I sold foreign rights, they would retranslate the book to make it make sense to that language. But one thing that was really important to me was not to italicize any of the words in the languages that were in the stories, because I feel like those foreign words felt just as important and integral to the story as everything else, so I wanted it all to just exist as its own thing.

Molly Antopol

rights writing book

So it was doing all this research or going to the archives or doing all these interviews or traveling, and then trying as much as I can to delete all of that research in a later draft so that all the reader cares about is the characters.

Molly Antopol

archives trying character

It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.

Molly Antopol

writing character book

It really made me nervous to write about it [Holocaust] and to approach it, because I was nervous about how to do it respectfully, and I was also thinking about how I could add something new to something that had already been so explored.

Molly Antopol

holocaust writing thinking

I felt like if I could get the epiphany out of the way in my drafting process, through my eighth or tenth draft, then that can just be part of how I've assembled the character, and then we can move on and move forward with it. In general, I don't ever want to feel smarter than my characters, because I just feel like that's not a great way to write a story.

Molly Antopol

writing character moving