Something that had an enormous influence over my relationship with language was my stammer. I had a really bad stammer in my childhood and adolescence, and that imbues you with two things. First, a hyper-sensitivity to grammar, because a stammerer will have problematic sounds, impossible verbal stumbling blocks. Second, writing is just such a joy when you have a problem with speaking. It's so astonishing to watch language coming out of your pen without any hesitation or dysfluency.
Maggie O'FarrellIn the first night of the Arvon Foundation course, Elspeth Barker said something about the newspaper along the lines of - and I'm paraphrasing - "I do these pieces for them and it's amazing, because I don't type it out, I just fax it as it is, and the literary editor has a machine that can transform my handwriting into typed text." At which point I put my hand up and said, "Actually, I'm that machine."
Maggie O'FarrellMotherhood is all-encompassing, and in a way, as the mother, you're the star of the household.
Maggie O'FarrellWe are all, Esme decides, just vessels through which identities pass: we are lent features, gestures, habits, then we hand them on. Nothing is our own. We begin in the world as anagrams of our antecedents.
Maggie O'FarrellShe has spent most of the day reading and is feeling rather out of touch with reality, as if her own life has become insubstantial in the face of the fiction she's been absorbed in.
Maggie O'FarrellThe role you've been ascribed in childhood can twist or break apart or seem outgrown, especially when you have your own family and begin to see your own childhood from a different angle. You remember. You reassess. I think that was the kernel of the novel for me. This idea that you change but that your family, the people you were born into, might find that change hard to accept. You no longer fit the mold you've always been ascribed. When the adult children in the book converge back on their small family home there's a sense that they don't fit there anymore.
Maggie O'Farrell