Andrea Barrett Quotations

I grew up on Cape Cod. We didn't live right on the water, but I could walk to it and did every day.

I think the landscape you grow up in probably does mark you in ways you don't even understand.

I've never been to a black-tie thing in my life. I didn't even go to my prom.

There's actually nothing interesting about me except what I write.

All my life, books have felt alive; some more so than people, or rather, some people. Alive - this has to do with me, I know, and not the books - in a way that some people aren't. Alive as teachers, alive as minds, alive as imaginative triggers.

By junior high, I was a horrible student. But during my sophomore year of high school, I did have a fabulous English teacher, and I would go to school just for her class and then skip out afterwards. That's actually when I started writing, although I didn't think of it then as something I might someday do.

For a sculptor, a painter, a weaver, a potter, the dialogue between one's materials and what one makes from them is easy to see: discover a new material or a new way to use a familiar one, and new things can be made, sometimes leading to the discovery of more new material, leading to more creation.

I am, as are most writers, just hugely obsessive, and so are many of my closest friends, who tend to be writers or scientists. It's a trait of human nature that I'm particularly in touch with. So I tend to project it onto my characters.

I read a lot, very passionately, from the time I was very young, but it was a constant battle; my mother would more or less let me be, but with my father, I was always searching for a place where he wouldn't find me. Whenever he saw me reading, he would tell me to put the book down and go outside, act like a normal person.

I think most fiction writers naturally start by writing short stories, but some of us don't. When I first started writing, I just started writing a novel. It's a hard way to learn to write. I don't recommend it to my students, but it just happens that way for some of us.

I wanted to be a scientist. My undergraduate degree is in biology, and I really did think I might go off and be some kind of a lady Darwin someplace. It turned out that I'm really awful at science and that I have no gift for actually doing science myself. But I'm very interested in others who practice science and in the stories of science.

I've always written about people who have very abstracted in a certain way. I write about scientists and artists and musicians. I write about people who live in their heads who are very obsessed about a certain set of details in the physical world.

In the story I eventually called 'Archangel' and published in 2008, Eudora MacEachern, working as an assistant to a surgeon at a hospital in Archangel, one night finds outside the gates an exhausted and frostbitten soldier crouched over the reins of a pony sleigh carrying the body of another soldier.

Infectious disease exists at this intersection between real science, medicine, public health, social policy, and human conflict. There's a tendency of people to try and make a group out of those who have the disease. It makes people who don't have the disease feel safer.

Margot Livesey, my dear friend, reads all the drafts of what I write, and I read hers. We have an intense working relationship. I've been really lucky to know her. She's a great reader and teacher as well as an astonishingly good writer.

My mother was largely a housewife until she and my father were divorced. No one in the family read for pleasure - it was a very unintellectual household - but my mother did read to us when we were little, and that's how I started to read.

The cure until the late 1940s, when there was an antibiotic discovered for tuberculosis, was basically rest. It was fresh, cold air, lots of food - five meals a day, lots of sleep, not very much talking, and for some people, complete stillness.

The thing I'm particularly interested in is natural history. In its heyday, the mid- and late-nineteenth century, when people were going out and gathering the first huge caches of data and trying to understand what was living and growing everywhere, there was such a sense of freshness to that pursuit. It's very exciting.

When I'm sniffing around new territory, I often choose, rather randomly, one general book and then follow its bibliography and notes to other, more specialized works and to the primary source material.

I'm not adopted. But that longing and that sense of absence ... are perhaps other ways of expressing the actualities of my family. Different facts, same emotions.

Sarah Cornwell has a brilliant eye for the telling detail, and a wonderfully original way of embodying family history. I was captivated by her memorable characters and the perfectly paced revelations of their surprising relationships.

Adrianne Harun's dark, mysterious novel is by turns Gothic and grittily realistic, astute and poetic in its evocation of evil everywhere.

Writing is mysterious, and it's supposed to be...any path that gets you there is a good path in the end. But one true thing among all these paths is the need to tap a deep vein of connection between our own uncontrollable interior preoccupations and what we're most concerned about in the world around us. We write in response to that world; we write in response to what we read and learn; and in the end we write out of our deepest selves, the live, breathing, bleeding place where the picture forms, and where it all begins.

It's hard to explain how much one can love writing. If people knew how happy it can make you, we would all be writing all the time. It's the greatest secret of the world.

I've never known a writer who didn't feel ill at ease in the world. We all feel unhoused in some sense. That's part of why we write. We feel we don't fit in, that this world is not our world, that though we may move in it, we're not of it. You don't need to write a novel if you feel at home in the world.