You're getting everyone's point of view at the same time, which, for me, is the perfect state for a novel: a cubist state, the cubist novel.
The first sentence of every novel should be: Trust me, this will take time but there is order here, very faint, very human. Meander if you want to get to town.
The last three books are much more a case of a moment of history, what happened almost by accident or coincidence, like being in the same elevator or lifeboat.
It's a discovery of a story when I write a book, a case of inching ahead on each page and discovering what's beyond in the darkness, beyond where you're writing.
That's Anil's path. She grows up in Sri Lanka, goes and gets educated abroad, and through fate or chance gets brought back by the Human Rights Commission to investigate war crimes.
Once I've discovered the story, I might restructure it, maybe move things around, set up a clue that something is going to happen later, but that happens much later in an editorial capacity.
On the warm July river
upside down river
for a roof
towards an estuary between trees
there's a dog
learning to swim near me
friends on shore
back to the eyebrow
I'm the prow
on an ancient vessel,
I'm going down to Peru
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