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

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.

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.

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

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.

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.

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.