Helen DeWitt

"I thought if I could talk to editors, if I could talk to s, if I could show them the kinds of things you could do if you were making use of the page rather than just using words, then people would understand there has to be a way of approaching a book more like a film. With film, yes, you start out with a , but the director is given resources with which to realize that film. And everybody understands you can’t know from the beginning what that film is going to be in the end. You are not expected to submit an already completed film in order to get funding. But that is the way publishing works. It’s constrained by a specific restricted idea of what text is, which is this: text is word. You hand in your text, and then it’s handed over to the designer, but you have no contact with that person. The is theirs, the s are theirs; they just do whatever they want, and you have no discussion with them about how the presentation actually relates to what the text is about."

"... was taught at the age of three. ... he had an extremely challenging early education. What would happen if you had a single mother who tried out the ? ... What if the mother would use ' to provide s for her fatherless boy?"

"The literary world does quite like the notion of genius, but it has no place for a Picasso."

"DeWitt has an insatiable mind and deep pockets of knowledge in disparate subjects; she went on tangents about strategies, the quirks of and her obsession with the , who inspired one of her many unfinished novels. She speaks French and German, can read Greek and Latin, and understands close to a dozen other languages with varying degrees of proficiency — among them Spanish, Italian, Portuguese, Arabic, Hebrew and Japanese."

"As it turns out, the is not remotely about Tom Cruise fighting alongside 19th-century Samurai in Japan. Rather, it follows the story of a woman named Sibylla raising her brilliant young son Ludo in in 1990s London. Unable to afford heat for their home, the two spend their days riding the . While the story is nominally centered around Ludo’s efforts to find his father, it is really about the pain and pleasure of integrating a unique mind into a world that values different things. Sibylla and Ludo both have excruciatingly high standards, the genius needed to attain them, and a near-total inability to tolerate compromise. Because most people’s lives are a series of compromises made bearable by self-delusion, Sibylla and Ludo are isolated, cut off from the outside world and outside relationships. The particular joy of the book, I think, is that the characters are so intensely and specifically themselves that it is impossible to imagine them working in a more conventional novel. But I believed in them completely — a testament to the strength of DeWitt’s writing."