![]() Translation and poetry have always been connected for me. So I went back to the character of Eleanor, and set out into a world. I had just translated four or five novels, and I felt a hankering to write fiction. I had that in my head because I was learning how to meditate, and I was trying to learn to sit with the “feeling” and not the “story.” I was interested in this idea of how to write the aftermath of a feeling, or how to write a feeling that’s the aftermath of an event, without telling the backstory-an anti-backstory kind of narrative fragment. It was little prose fragments, narrative fragments, and it was the beginning of the character Eleanor. In 2009 I wrote a short chapbook, which I started to write not thinking of it as fiction or poetry or anything. How was it to change the form you were working in, and did you make a conscious decision to do so, or did it happen more naturally? This is the first novel you’ve written after many years of working in poetry. ![]() You recently published your debut novel Eleanor, Or, The Rejection of the Progress of Love. ![]()
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