![]() ![]() Do you think about worldwide catastrophes a lot? In your work, including The Bone Clocks, often apocalyptic scenarios unfold-a huge terrorist plot an earthquake something called the Fall. But then you can’t use a word like erudite when you’re talking with a bunch of kids and they’re 13 years old, because you’ll get beaten up. With a stammer, you do need high-speed access to synonyms, you need a faculty and a knack for reconfiguring sentences, all before the other person catches on, so you can avoid the problem words. One description in The Bone Clocks, of a pub in a university town in 1991, even rhymes: "high-volume discourse on who’s the best Bond on Gilmour and Waters and Syd on hyperreality dollar-pound parity Sartre, Bart Simpson, Barthes’s myths ’Make mine a double’ George Michael’s stubble ’Like, music expired with the Smiths.’ " Do you think there’s a connection between the musicality in your writing and the stammer you’ve struggled with since childhood? Sometimes you seem to almost be writing in verse. It’s more of a self-caricature of my repressed bad-boy traits. ![]() There are some rather specific things that sound familiar. ![]() Of course you have to ask, and of course I have to deny it. I have to ask if you were having some fun with someone real. He’s a bit adrift, and at one point he’s got thirty pages to show for himself after a number of years. In The Bone Clocks, one memorable character is a bad-boy British novelist. What’s an American foodstuff that either you love it or you hate it? ![]()
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