Elizabeth Graver |
Elizabeth Graver is the author of four novels--Awake, The Honey Thief, Unravelling, and most recently The End of the Point--and a short-story collection, Have You Seen Me? She teaches English and creative writing at Boston College.
Q: Is Ashaunt Point based on a real place, and why did you
choose to focus the novel around a particular location?
A: Yes, Ashaunt Point is based on a real place—a little summer
community on a small peninsula in South Dartmouth, Massachusetts, where my
husband's family has owned a house for five generations (though I have
liberally changed the place to suit the purposes of my novel).
I was interested in the tight focus that a small place could
provide for my story, as well as in how a place can serve as an anchor, for
better or worse, for the people who return to it over and over again.
The real place that I based Ashaunt on fascinates me for how
it embodies a number of dynamic contradictions and tensions. It is at once
isolated and not, protected and fragile, private and porous, owned and, in the
end, un-ownable in some fundamental way.
In her wonderful essay, "Place in Fiction," Eudora Welty writes, "Place in fiction is the named, identified, concrete, exact
and exacting, and therefore credible, gathering spot of all that has been felt,
is about to be experienced, in the novel's progress. Location pertains to
feeling; feeling profoundly pertains to place; place in history partakes of
feeling, as feeling about history partakes of place."
Welty gets at the compelling mix of the particular and the
vast that a focus on place can provide for a writer, as well as at the
emotional pulse of place. I'm very attached to the natural world of New England,
and I view this novel as a kind of (complicated) love song to that world.
Q: Throughout the book, various members of the Porter family see Ashaunt as a place of refuge. How important do you think it is for your characters Helen and Charlie, in particular?
A: I see Ashaunt as a mixed blessing for both Helen and
Charlie. It's a retreat where they can shrug off some of the outside
expectations of the world and find a relationship to their own pasts and to
nature that is deeply nourishing. But Ashaunt also brings them into close
proximity to family, with all the intimacy, expectation, tension, love and
anger that can come with that.
At various points in the novel, Helen wants nothing more
than to get away from Ashaunt, yet she is always pulled back, as much by
internal as external forces, and at the end of her life, she loves the place as
nowhere else.
Ashaunt lands Charlie right in the lap of his complicated
family, but it also allows him to live slightly apart from them in his little
cabin. He forms a relationship to the land that is almost like that of a child
to a mother. In times of great trouble, he manages to move outside
himself through caring for the land and feeling cared for by it. For him,
perhaps more than for any other character in the novel, Ashaunt is a gift.
Q: Why did you choose the time periods 1942, 1947-61, 1970, and 1999 in which to set the novel?
A: My original idea for this project involved covering a
much wider swathe of time--something I play with in the Prologue chapter,
"Fifteen Axes, Fifteen Hoes." As I wrote, I realized that I wanted to
go deep, and that in order to do that, I had to focus in more and cover less
time.
I was drawn to the first three of these time periods because
of how they are times of intense change (World War II, Vietnam, changing roles
for women, etc.).
1999 interested me for a different reason; it's a moment
right before enormous change: the new millennium, of course, but also 9/11, and
the rapid rise of the internet and globalism, both of which have had profound
effects on how we experience place, text, and communication.
My book stops right before these changes. There's no
Wifi in this novel. It's filled with diaries, letters, even a message in
a bottle, but it's also very much a kaleidoscopic story about change, so my
hope is that it quietly gestures toward what might lie ahead. As a cusp year,
harkening both back and forward, 1999 seemed like the right place to end.
Q: What role do you see your character Bea playing in the book?
A: Bea is an insider/outsider, both part of the family and
not. This gives her a perspective that I found particularly rich (and
that, perhaps not coincidentally, in some ways reflects my own relationship, as
an in-law, to my husband's family, as well as my writerly perspective, which is
always observing).
I have long been interested in the position of caregiver—in
Bea's case, that of a nanny or "children's nurse." Bea loves
the children she is raising, and/yet she is paid to raise them, and they are
not "hers." In some ways, this mirrors the relationship of the
Porter family to the land and to each other, in that you can never
"own" another person or, in the long run, even own a piece of
land.
In a novel where some of the characters have, by virtue of
their class, perhaps too many choices, Bea is also someone who has very few
choices and who makes her own way without a family of origin to guide her.
Yet for Bea, too, place ends up being a powerful force, as we see when
she moves back to Scotland in her old age.
Q: Are you working on another book?
I'm playing around with an idea for a new project that would
draw on my own family history. My maternal grandparents were Sephardic Jews who
came to the U.S. by way of Turkey and Spain. They settled in Queens, New York,
where they had an ice cream parlor. I have some wonderful tapes of my
grandmother telling stories of her crossing to America.
Her story is very much one of diaspora and interests me both
for itself and for how it might potentially serve as a kind of counterpoint to,
and dialogue with, questions I've begun to explore in The End of the
Point.
Q: Anything else we should know?
A: How about a list of books on my to-read pile? Right
now, it looks like this: Rachel Kushner's The Flamethrowers; Elizabeth Strout's
The Burgess Boys; Dana Sachs' The Secret of the Nightingale Palace; Hester
Kaplan's The Tell; Alysia Abbott's Fairyland, Karen Shepard's The Celestials
(still in galley). I just finished Michael Chabon's Telegraph Avenue, which,
in its portrayal of Oakland, California, is a thick and loving homage to a
place.
--Interview with Deborah Kalb
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