Jeffrey Eugenides
Jeffrey Eugenides
Jeffrey Kent Eugenidesis an American novelist and short story writer. He has written numerous short stories and essays, as well as three novels: The Virgin Suicides, Middlesex, and The Marriage Plot. The Virgin Suicides has been filmed, while Middlesex received the 2003 Pulitzer Prize for Fiction in addition to being a finalist for the National Book Critics Circle Award, the International Dublin Literary Award, and France's Prix Médicis...
NationalityAmerican
ProfessionNovelist
Date of Birth8 March 1960
CityDetroit, MI
CountryUnited States of America
The trees like lungs filling with air My sister, the mean one, pulling my hair
I want an ending that's satisfying. I'm more of a classical writer than a modernist one in that I want the ending to be coherent and feel like an ending. I don't like when it just seems to putter out. I mean, life is chaotic enough.
I studied English literature in the honors program, which means that you had to take courses in various centuries. You had to start with Old English, Middle English, and work your way toward the modern. I figured if I did that it would force me to read some of the things I might not read on my own.
It was the combination of many factors... With most people, suicide is like Russian roulette. Only one chamber has a bullet. With the Lisbon girls, the gun was loaded. A bullet for family abuse. A bullet for genetic predisposition. A bullet for historical malaise. A bullet for inevitable momentum. The other two bullets are impossible to name, but that doesn't mean the chambers were empty.
But in the end it wasn't up to me. The bigs things never are. Birth, I mean, and death. And love. And what love bequeaths to us before we're born.
The Pulitzer isn't a physical object. You can't hold it in your hand. You get some money ($7,500 in my day), and you get a little Tiffany's paperweight with your name on it and the image of Joseph Pulitzer suspended in the crystal. When people see my 'Pulitzer' (I keep it in my sock drawer), they are pretty amazed at its meagerness.
One of the reasons I like Barthes more than other writers of that ilk is because he had a literary quality.
It was a recession when I graduated, but I was so unequipped to have a job anyway, I don't think it would have mattered if the economy was booming. I think I was expecting bad jobs. But as it went on through my 20s, I began to wonder how things were going to turn out.
It was painful, but sometimes you must have these painful moments where you tear yourself away from something that isn't working.
It wasn't conscious, but I guess that one book is the reaction to the other. The first is so imprisoned in a male point-of-view, and the second is a point-of-view that can go anywhere it wants.
The book has many different characteristics: some are extremely old-fashioned storytelling traits, but there are also a fair number of postmodern traits, and the self-consciousness is one.
I mean, when I got to Brown, the place was riven, because you had older professors who were basically new critics and had been teaching a certain way for 30 years. And then you had this other gang who was down with the semiotic program. And as a student, you were, in a way, forced to choose which cohort you were going with.
I have a very beautiful room that in my house that we bought in Princeton. It's glass on three sides, and you'd think that's the perfect place to write. Somehow in that nice room I feel too exposed, and I can notice I'm too distracted by things going on, so I end up writing in a not-very-nice office bedroom.
A few years ago in Chicago, I rented an office, and I went there every day. For the most part I do work at home in an ugly room.