I was talking to a friend the other day and he said that the best advice he ever got about heartbreaks went something like this: “Whenever you feel like crying over a girl, remember that others have lost empires. Half of Europe, stuff like that.”
Of course, there’s a problem of perspective here, because we’ll never know if those who did lose empires didn’t actually cry more over the lost of a woman, of a child, or something else, much more elusive in nature.
Actually, we all build our empires.Continue reading “Empires”
Most of my main characters are hopeless romantics. Well, that’s how I’d go about defining them. Maybe they’re just idealists: they believe in something wholeheartedly, and they stay true to their version of the world, no matter what. Maybe all idealists are stubborn like that.
Jonathan Fisher, in The Writer, wants to become a great writer, no matter what. Chris Sommers, in Jazz, wants to be happy. Francisc Goyer, in A Sad, Sad Symphony, wants to create the perfect symphony, just so he can leave something behind. Something great. The narrator in Remember wants nothing more than to kiss the woman he’s always been in love with.
And Chris Packlem is willing to do the same thing, but he doesn’t really know what he wants. He used to think that becoming rich would solve all his problems. He was wrong.
He’s the kind of guy who spends an awful lot of time wandering around New York. I imagine that to be the ultimate proof of how lonely he really feels. How lonely can anyone feel; to be surrounded by the commotion and despair of a huge city, by all these strangers passing him by, and to feel as if the world is inhabited by ghosts. Or maybe he’s the ghost.Continue reading “Amor vincit omnia”