![]() ![]() That reminds me of something Tilda Swinton once said about filmmaking-it’s a social way of making art. ![]() I’d been completely in my room, in my head, not looking at anything. Taping and transcribing was part of looking around to see what things were really like in my environment. So all the transcribing I was doing was kind of like drinking a glass of water-it was refreshing, like a palate cleanser-a way of getting out of my imagination. I’d spent the previous five years working on Ticknor, and I wanted to sort of shake that off me. I didn’t have a plan for where I was going.ĭid you think you were writing your play? But the conversations were not meant for a book. How did you take your conversations from your life and weave it into fiction? ![]() Below is an edited version of our conversation. Sheila is an impressive writer (see her full bio here) as well as the interviews editor at The Believer. The novel is a blend of the real and the imaginary-and somehow, in the process of recording her life, real Sheila blends into fictional Sheila, creating a work of metafiction that is playful, funny, wretched, and absolutely true. If you’ve been loving Lena Dunham’s Girls, you should most certainly pick up a copy of Sheila Heti’s new novel, How Should a Person Be? In it, fictional Sheila struggles to answer the titular question through conversations with her friends (including Margaux, Misha, and Sholem), blowjobs, impulsive trips to Atlantic City and … a whole lot more. ![]()
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