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You Are Not a Stranger Here by Adam Haslett
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You Are Not a Stranger Here

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You Are Not a Stranger Here by Adam Haslett
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Aug 12, 2003 | ISBN 9780385720724

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    Aug 12, 2003 | ISBN 9780385720724

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  • Aug 12, 2003 | ISBN 9781400075621

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“Spectacular. . . . You should buy this book, you should read it, and you should admire it. . . . [It] is the herald of a phenomenal career.” —The New York Times Book Review

“Extraordinary. . . . Frighteningly tender. . . . Displays an order as natural as a tree branch in winter—lithe and achingly austere.” —The Boston Globe

“Haslett possesses a rich assortment of literary gifts: an instinctive empathy for his characters and an ability to map their inner lives in startling detail; a knack for graceful, evocative prose; and a determination to trace the hidden arithmetic of relationships.” —The New York Times

“Fascinating. . . . Haslett is an eloquent, precise miniaturist.” —The New Yorker

“Elegant. . . . Invigorating. . . . [Haslett has an] assured, almost democratic empathy for his admirably varied characters. . . . These are graceful, mature, witty stories.” —San Francisco Chronicle

Author Q&A

A Conversation with Adam Haslett, author of YOU ARE NOT A STRANGER HERE

Q: The title for this collection doesn’t come from one of the story titles; where does it come from?

The title is taken from a line in the book, in the story “War’s End,” about a man who visits an old woman’s house in St. Andrews, Scotland. He’s feeling very low and the old women picks up on this. When he asks if she often has strangers like him to her house, she replies, “You’re not a stranger here.” I liked it as a title because it’s an invitation to the reader, a welcoming. My hope is that readers, even if they haven’t experienced some of the things in my book, will still see parts of themselves in the stories, perhaps parts they don’t see reflected in a lot of other places.

Q: Did you write these stories as a collection, or did you write them and discover you had a collection?

Most of them were written one at a time with no clear plan to make them into a book. A few others, though, were written after I had a publisher, so at that point I knew that they would all end up together. But even then my focus was on each piece as a separate work. I didn’t make conscious decisions about themes or ideas running through all the stories. I tried to think of them each as their own world.

Q: Your stories take the reader to several locales. Are these all places you know well?

Most of the settings are places I’ve been, but not all. I’m half English so I’ve spent a lot of time in England and Scotland. The British settings are taken from memories of places I’ve visited. The American settings are a mix of imagined towns and locations I’ve been to but have altered slightly for my purposes. I like knowing enough about a place to set something there but not so much that I can’t invent a little as well.

Q: A number of these stories focus on people who have been diagnosed as mentally ill. Do you have personal experience with mental illness? Are any of these stories autobiographical?

There’s been manic-depression in my family, so I’ve experienced that at close range, and certainly it’s influenced how I see the world. Mostly I think it gave me empathy for those who suffer real emotional pain and left me wanting to understand both the amazing highs and terrible lows of human experience. Sometimes that involves mental illness, sometimes it doesn’t. I think we learn things about ourselves in extreme moments, and a lot of the stories deal with people facing serious dilemmas. But in the end the book is fiction. None of the plots are based on actual events in my life. I guess you could say there’s no literal autobiography, just emotional autobiography.

Q: Though many of your characters are in desperate states, these stories are very funny. Can you talk about the role of humor in your writing?

I love writing comic scenes. You spend a lot of time on your own when you write, and occasionally you need some laughter to get you through. Comedy has a great energy and it tends to move the story forward quickly. It’s also more fun to read comic work aloud at readings because you can tell if your audience is with you. If they start laughing, you know it’s working.

Q: While you were writing the stories in this collection, you were also attending law school. How did you find time to do both?

I tried to concentrate on one pursuit at a time. Many of the stories for this book were written before I entered law school, and then I took some time off to finish the book. I found moving back and forth helped the writing because it gave my mind a break from the material and when I returned I had my energy back.

Q: What kind of law do you plan to practice?

I’m interested in criminal law and writing appeals. I’m not sure yet exactly how I’ll balance law and writing, though I’d like to keep them both going.

Q: There is a great precedent for lawyers writing fiction about the law. Have you ever considered that?

I’ve definitely thought about having characters who are lawyers, but I haven’t considered basing a book on a legal story. When I write, I usually start by trying to find the right rhythm in the language, which gives me a sense of the characters, and the plot tends to develop from there. People’s interior life, how they see the world, is what interests me most. It would fun to write about the law from that internal perspective at some point in the future.

Q: Are you writing more stories or are you working on a novel?

I’m beginning a novel. The last fours years of writing has all been devoted to short stories, and I’m ready to work on a larger scale. Short stories are often confined to one character’s perspective and I’m looking forward to having multiple characters and being able to explore their lives at greater length.

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