Michael Ondaatje’s work taught me how to be at home in fragments, and how to think about a big story in carefully curated vignettes. All his books were odd, all of them ‘unfinished’ the way Chopin’s Études are unfinished: no wasted gestures, no unnecessary notes.
Only an unhinged movie survives as a disconnected series of images, of peaks, of visual icebergs. It should display not one central idea but many. It should not reveal a coherent philosophy of composition. It must live on, and because of, its glorious ricketiness.
I have to say in premise 'Winter Journal' is really not a memoir. And I don't even think of it as an autobiography. I think of it as a literary composition - similar to music - composed of autobiographical fragments. I'm really not telling the story of my life in a coherent narrative form.
A lot of times in my short fiction there isn't much dramatized scene - there are a lot of short, interconnected bits, snippets of conversation, continual action, and so on. I frequently rely pretty heavily on voice.
There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.
I only know one story. But oftentimes small pieces seem to be stories themselves.
I realized that we don't travel in such a linear way anymore but rather jump from one point to another and back again. So I got this idea for a 'constellation' novel recounting experiences that were separate from each other but could still be connected on different psychological, physical and political levels.
These days movies are cut very quickly and sort of fragmented and I tend to do slower moving stories where people develop relationships with people. I think I'd probably do a lot better if I lived in Europe - I think it's more of a European sensibility somehow.
Narrative Collapse is what happens when we no longer have time in which to tell a story. Remote controls and DVRs give us the ability to break down narratives - particularly the more abusive ones. This is a great thing for escaping the 'ends-justify-the-means' traps of 20th-century wars and religions, but it can also make it hard to convey values.
