So, it’s with more than a little anxiety that I make plans to have lunch with Zambreno at a quiet New York City diner. Her best-known works – 2012’s Heroines and 2011’s Green Girl – are equal parts fascinating and harrowing, each shining a light on different aspects of the female experience in a language that sounds bracingly and amazingly new. While the general inscrutability of her work makes it interesting, it’s Zambreno’s writing itself – razor sharp, erudite, quizzical and occasionally confounding – that has made her something of a literary phenomenon over the past couple of years (“literary phenomenon” being a distinction that would surely make her, at the very least, slightly uncomfortable). Zambreno’s books are tricky things, often blurring lines between fiction and nonfiction or eschewing genre altogether.
still, based on her work, it would be hard to meet writer Kate Zambreno and not arrive with at least a few wild assumptions about what she may or may not be like. Kate Zambreno in her home in Brooklyn, New York, in January 2015.Īny good student of literature will tell you that it’s never a good idea to confuse writers with subject matter in their work, or assume that a writer’s creations are necessarily speaking explicitly on his or her behalf.
0 kommentar(er)
