I wanted to dissolve the boundary between the outside world and the world of the relationships. Those events, with exception of the Mt. Saint Helens explosion, were happening in the real time of the book, as I was writing.

I think each of my books attempts to create its own voice so I'm not even sure I have a signature style, other than certain descriptive tendencies, an interest in the sound of language. Maybe an immersion in place.

I think my methods are more suggestive than assertive. Check out those passages again and see what you think.

I talk about it a lot to my students. Musicality never came up in any of own writing education, and I can see why - we don't have the vocabulary for it. Phrasing is intuitive, and its difficult to articulate when it's on and when it's not.

I wanted to preserve the feeling of remembering her just months after her death - the raw immediacy of it, so the drafts were really about getting the language right, getting the pitch right, keeping the voice austere and plainspoken.

I think the most reliable way to teach it is through reading work aloud over and over. Many prose writers been encouraged to do that, but that might be changing. Denise was the one who taught me to develop my ear. I never knew how to listen to writing until she started reading her work to me.

One way to be aware of it, to teach to yourself, is simply to read work aloud. I love reading the endings of books aloud when I start nearing the end.