“If Laura was so prolific with poems, and in truth she was, then what was the problem with Megan’s request? Couldn’t Laura, with a little doing, keep stringing together line after line of words and construct, in time, a novel? It seemed logical, but there was the matter of finding an idea and sustaining it. Only fire could do that. The fire of rebellion.Mario Vargas Llosa had not used the term “fire” exactly, but rather had discussed the presence of “seditious roots” that could “dynamite the world” the writer inhabited. He claimed that writing stories was an exercise in freedom and quarreling—out-and-out rebellion, whether or not the writer was conscious of it. And this rebellion, Vargas Llosa reminded his readers, was why the Spanish Inquisition had strictly censored works of fiction, prohibiting them for three hundred years in the American colonies.”

“If Laura was so prolific with poems, and in truth she was, then what was the problem with Megan’s request? Couldn’t Laura, with a little doing, keep stringing together line after line of words and construct, in time, a novel? It seemed logical, but there was the matter of finding an idea and sustaining it. Only fire could do that. The fire of rebellion.Mario Vargas Llosa had not used the term “fire” exactly, but rather had discussed the presence of “seditious roots” that could “dynamite the world” the writer inhabited. He claimed that writing stories was an exercise in freedom and quarreling—out-and-out rebellion, whether or not the writer was conscious of it. And this rebellion, Vargas Llosa reminded his readers, was why the Spanish Inquisition had strictly censored works of fiction, prohibiting them for three hundred years in the American colonies.”

“Maybe you didn’t need to know anything special to write a work of fiction. Maybe you didn’t need to delve into some kind of life question you knew you’d lived. Perhaps your subconscious would do the job for you, if only you dared to dream.”

“If she was going to write a novel, she felt defeated before she began, because someone might be coming along to pick it apart, looking for symbols like The Conch or The Whale, which seemed to have mythic proportions.”

“Had Mary Shelley fretted so? Maybe yes, maybe no. She’d begun her classic work on a dare. Had culled a dream to bring it into being. But it was not lost on Laura that the story might be a prolonged exercise in Shelley’s personal terrors. The subtitle of the work was 'Prometheus Unbound,' and Laura wondered if Shelley herself was not Prometheus in the form of the wandering monster, who desperately sought love and acceptance but was ultimately driven to face an icy landscape that seemed almost fantastical—the way our own subconscious could be, white and frozen-slippery.”

“Maybe Laura’s real problem came in admitting this: there was nothing new under the sun. To write a story would be, somehow deep down, to embrace her limits, to admit that, indeed, she would someday die—if not of a worm or a ceiling, then of something else. The very nature of a story admitted this reality. To be a writer was to say, yes, I am just another Murasaki, and it is quite possible that no one will remember my name.”

“She meant you have to live a story for a time.''And?''And then you can write it, in time. What have you lived?''Kind of a personal question for Twitterland.''Kind of the perfect question to answer in fiction.”

“Have tea, might write,” Laura returned.”

“This is what Laura loved about literature. You could see things in it that perhaps weren’t there, but might be. And even that didn’t matter if, in the end, readers needed something to be there. They could bring their somethings to a text, as co-creators, embedding a needed reality in the story that, if it was flexible enough, would allow new threads to take their place beside the author’s.”