to the taiga

Q: What are your work habits for a novel?

A: Once I truly begin to write, I work obsessively, in twelve-hour days, punctuated by days of long sleep and vivid dreaming. Starting time and ending time are no longer important. I might begin at 9 A.M., or after noon or at eight in the evening. I go from there. I turn on the computer and write, write, write.

My room is a mess. Notes are scribbled on the walls so that I can look up at them at the appropriate moments and insert the date, the name, whatever, when I need it. Books are stacked so high that people have to search for me when they come into the room. Opened books with marked-up pages are stacked on top of one another.

I become suicidal. I go through a horrid despair some time or other before the final page, during which everything seems meaningless—from the dawn of history to the very hour in which I am writing.

I’m intolerable to live with. But I spread myself thin over a number of loved ones and staff members so that no one person has to put up with how intense, hysterical, and miserable I am.

When I get elated and talk fast and furiously about wonderful aspects of history or the characters, or good developments in the story, people run away from me. I don’t blame them.

While the novel is being written, I try to avoid dressing for outdoors. No one can make you go out if you don’t have shoes on. Not even in the south. I wear long velvet robes and soft velvet slippers. I refuse to go out. All food is brought in. I eat hamburgers because they are easy to hold with one hand while reading and holding the book with the other hand.

In the middle of the night I read, sometimes on the carpeted floor of the bathroom, just because it’s warm. I am wretched. I don’t care anymore about being abnormal. Writing is everything. Everything. It seems impossible to write the book. It seems impossible to lift a hairbrush to brush my hair. But I do it. I put on mascara every day that I write.

This period of intense work lasts about six weeks. It’s best that way. My imagination is overheated, and my memory clogged with data of varying importance. If I go over six weeks, I begin to forget things; I feel the loss of intensity and information and I become all the more self-destructive and obsessed.

The end of the book is a big event for me. A big event. I start screaming. I put the hour and the date at the end of the last page. I expect everybody to understand, at least a little. It’s a triumph! The darkness of destiny has been driven back for a brief while. I celebrate. I scream, eat chocolate, and sleep.

Right near the end of writing The Vampire Armand, I realized I had to return to Italy, especially to Florence, and at once I began to make preparations for the trip. As soon as the novel was finished and off to the publisher’s, as soon as it could be accomplished, I flew to Italy. That gave me hope, a way out of a life threatening darkness that often follows the climax of a book. But I still ate chocolate and screamed.

While writing, I don’t want to rest. I don’t want to sleep. Why sleep? It seems stupid, except when weariness overcomes me like a giant cloud of poisonous vapor. Then I sleep fifteen to twenty hours. I tell people to go in and out of the bedroom and ignore me lying there, as if I were dead. I won’t talk on the phone. I won’t open my eyes if I don’t have to. I dream terrible, upsetting dreams.

I want to kill myself. But I can’t. I can’t do it to other people, and I have work that must be done, novels that must be written. So I don’t kill myself. Besides, I don’t think it’s good to kill oneself. It’s a horrible idea. It has a horrible effect even on acquaintances.