Dislocated Realities: A Conversation between Helen Phillips and Laura Van Den Berg
When an early copy of Helen Phillips’s new novel, The Need, turned up at my apartment, I had not read a book in two months. I had been unable to read, in fact. My father had died recently and each time I tried to open a book, longing to slide into an alternate present, I instead hit a wall. The Need broke that wall for me. The novel concerns a woman named Molly, a paleobotanist who is home alone with her children when she thinks she hears an intruder in the house—and the events that follow upend her understanding of her world. The book is written in short and thrilling chapters, at once a cat-and-mouse tale of suspense and a profound exploration of identity and reality, of fate and time.
I had the great pleasure of interviewing Helen at the Harvard Bookstore recently and as we talked we discovered some intriguing overlap between our most recent projects. So we decided to keep talking. This conversation took place over email, over the course of several weeks in August. We discussed The Need, published by Simon & Schuster in July, and The Third Hotel, out in paperback from Picador this month, plus dislocated realities, genre, maternal love, and endings.
PHILLIPS
On the first page of The Third Hotel, your protagonist Clare admits, “I am experiencing a dislocation of reality,” a sentence that stayed with me as I read the book. The sands of reality do seem to be shifting under Clare’s feet in each scene, which brings me to a perhaps unanswerable question that arises for me in many of my favorite works of fiction. Do you consider your protagonist to be an unstable narrator in a stable world, or a stable narrator in an unstable world?
VAN DEN BERG
I am inclined to claim both, if I may. Clare is wild with grief of various sorts, which creates instability in her own perspective. At the same time, I do think the world—her world, our world—is inherently volatile., and a concept that is certainly relevant to
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