![]() ![]() Joan Frank: I think the use of first person in So Long accomplishes what Paul Auster once described to me, and mentioned above: a reader feels she is being spoken to from the bones of her own skull an intimate reverberation-as if she is almost co-thinking with the narrator. “The one possibility of my making some connection with him seems to lie not in the present but in the past,” Maxwell writes. To what extent do you think his narrator’s perspective affects the power of this work? It’s only as he becomes older that he understands his interactions with Cletus, a boyhood friend. Jane Ciabattari: Like his narrator, Maxwell lost his mother to the 1918 flu epidemic. ![]() ![]() I cannot urge this title too strongly on anyone who may still wonder why literature matters. The empathic range and fierce honesty of this work, the tenderness and laser-accurate vision, the distilled concision of its language, shot into my heart to stay-to inform everything that ever happened to me, or that I ever thought or wrote or said, thereafter. ![]() So Long, See You Tomorrow struck me full-force, as a developing writer who’d (like Maxwell) lost a mother while still a child. ![]()
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