I just thought, I want to do this-even if it sounds crazy-and I don’t know another book like this. This was meant to show that Maddie wants to be a newspaper woman, and she’s missing a lot. There is a character who had just been in the scene you’ve been with Maddie, and you get to see it from his or her point of view. LL: There are twenty points-of-view overall, which means there are eighteen one-offs. Maris Kreizman: This novel is particularly wonderful because you have this third-person account of Maddie, but then every other chapter you switch points of view, from a bunch of different characters in the book.
I’m supposed to be writing what happens the day after. I was like, I’m supposed to be rewriting Marjorie Morningstar. I come into my house and I check Twitter, as it happens, and my friend Megan Abbott is posting all these very evocative photos from the Catskills camps, the ones that were the adult playgrounds. I reread Marjorie Morningstar (Herman Wouk), as I do every year, and I had this insight: Oh my god, Marjorie at the end of the novel-when Wally thinks she’s washed-up and looks like a grandmother-she’s thirty-fucking-nine! What’s going on there? I’m already thinking that thought, and I can see myself walking up my street on this cold, winter day. Suddenly, the universe started throwing a bunch of stuff in my path. Laura Lippman: I’m not in general an airy, “woo woo” person, but I’m into visionary and outsider art and I believe in found objects. On the inspiration behind her latest novel This week The Maris Review, Laura Lippman joins Maris Kreizman to discuss her latest novel Lady in the Lake.
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