Lauren Groff (born July 23, 1978) is an American novelist and short story writer.
If the literary category of 'mordant fable' exists at all, it may be because Brock Clarke invented it. The Happiest People in the World is everything we fans have come to love from a Clarke novel: playful and deliriously skewed, and somehow balancing between genuinely great-hearted and gloriously weird.
I kept a lot of my thoughts inside myself. So, perhaps more than is normal, I'm always questioning my role as a writer. I'm always stopping and asking myself: Do I have the right to tell this story? Is it a story that deserves to be heard? And as for whether I think of myself as a Writer with a capital "W," I very much hope I never do.
The trouble is that America's become a utopia accessible only to some people. Others get trampled on. Perhaps it's a problem of size. Robin Dunbar, an anthropologist, once gave the ideal number of a given community as 148. That seems about right to me. There's something idealistic about that - in a group of 148 people you can get to know everybody.
We need the skeletons of other stories to understand our own, sometimes.
I love Twitter. It's like having a closet full of clever friends that you can visit twice a day, then shove back into the darkness when you're tired of them.
As with most of my work, I started from the abstract, from research, building an intellectual model that slowly became internalized when the characters came alive. It's fascinating what happens to the model you've so assiduously assembled when characters are allowed to run rampant: things you thought essential are broken and other things are vastly improved.
I've never wanted to chuck my mortgage, drop the kids off at their grandparents' and run gloriously naked in fields of flax.
I'm a writer, not an actor. I want to write rather than perform. I'm looking forward to disappearing for a while.
You had to pick up a landline to make sure your best friend wore a matching outfit to school. I do remember people talking more. Nostalgia is dangerous, though.
The darkest period of my life, so far, arrived the summer I was pregnant with my eldest son. The future was growing in me with all of its terrifying unpredictability, and I found myself anxious, unable to work and woefully at sea.
When I write a new draft, I don't like to feel I'm tied to any previous version. That's why I don't use a computer to write. The text looks, on the screen, too much like a book. It's not a book - it's a bad first draft of something that could one day be a book.
The triumph of writing fiction is that by doing so, writers can build a more ideal world in themselves.
A lot of my work comes from a place of despair or fear. I often write in order to gain some sort of control over aspects of my life or the world that seem too dark to look at directly.
I'm an anxious person in general, but something about being pregnant and awaiting the release of my first book, The Monsters Of Templeton, made me into an insane anxious person. I didn't sleep at night. I ended up sleeping all day. In a strange way I felt like the world was going to end. I found myself so deeply depressed at times that I started to read about happiness, and that took me into books about idealism and utopianism. Reading books about people who tried to build utopian societies of different kinds gave me a kind of lift.
Being a writer means I sit in a dark (and pretty dank) room off my garage for many hours a day, and in my wallowing moments I can feel as if I'm already on the outside of society, peering wistfully in.
My childhood was as conventional as you could get.
I think I'm an optimistic person. Ultimately I believe in people. I believe they can be robust. When my collection Delicate Edible Birds came out there were one or two people who read the title as being a commentary on the characters within the pages, the women in the book, meaning that they were these fragile girls meant for male consumption. But I had meant the opposite - these people are tough. Dark things happen to them but they get on with life as best they can.
Our human impulse is to control everything, but fiction seems to me to be about allowing an element of mystery into the text.
If you look at communal experiments in general for any amount of time, you'll find a lot of horrors: raped children, sexual slavery, eugenics experiments, on and on.
Sometimes you have to let time carry you past your troubles.