On visual art as a tool to write about narrative, creating different kinds of time, and juggling complicated realities.
The cats were entering middle age and felt despair. They had come to realize that life was not a project one could complete successfully. Life was not a treat.
On writing a novel in screenplay format, the possibilities of humor, and the plurality of Asian American identity.
Fleshy ideas of language.
Shot on a vintage news camera, with a script containing appropriated texts, The Plagiarists is a sendup of indie movie tropes and notions of creative authenticity.
Writing satire in the Trump era.
The comic turmoil of the mundane, with musical accompaniment.
“My work simply reflects the world, which seems to have been created by an absolute moron.”
Ives discusses chasing false lures, testing the limits of relationships, and what’s been cut from her novel Impossible Views of the World.
“I admire my characters for their ability to do something that I would find far too embarrassing to do myself. Fiction can get us to experience what we might do if we were braver. Or dumber.”
A lighthearted psychodrama about mommy issues and Hillary Clinton.
On Michel Houellebecq’s Submission
“People struggling to control language, control conversation, literally to control the world.”
“I never wanted to be a performance artist.”
Some time in late June, in the middle of the World Cup, a friend asked me an apparently simple question: “If you could psychoanalyze one football player, who would it be?”
Excess as a state of mind: intellectualism, vacation, and the pleasure of scenic rhythms.