READ CLOSE: Nothing To See has such an incredible cover. Could you tell us more about the process of design for this book?
PIP ADAM: Working with VUP on covers is really fun. We send ideas back and forward. It’s very collaborative and also acts a really good exercise in working out exactly what the book is about and how best to talk about the book.
My memory of how this cover came about is we were having a lot of back and forward and, although we had some good ideas, nothing was sticking. I think I was being a bit difficult because I wasn’t sure I wanted an identifiable person on the cover.
I was in Sephora in Auckland and there was a poster where two women were cheek to cheek each with different eye liner and I thought, Hmm. So, I found a stock picture of two people cheek to cheek to everyone. Everyone had been talking about asking the incredible Russel Kleyn [https://russellkleyn.com/] to take the photo for the cover. This excited me heaps because I love Russel’s work.
Russell recommended Franca and took the photos and then Fergus laid the cover out. It was very exciting for me. I have never had a real person on my book before and I feel very grateful to Franca – it’s no small thing to allow your likeness to be used to interpret someone else’s art. I particularly like the cover because I don’t think Russel simply mirrored the image – this means both halves of Franca’s face are slightly different. I think this is slightly more un-nerving, which I really like.
If Nothing To See were to be made as a film or TV show, who would you cast in the roles?
I don’t think I would want to cast this myself. I think my answer for this question goes back to my resistance to having an actual person on the cover of the book. I have this hope, which I think is possibly a cop-out, that people will build the identity of the characters for themselves. I’m quite light on description of characters, purposefully, and I think in my head, I often don’t see characters. Instead, I kind of experience them from inside. I hope what this means is that people who read the book can do the same.
I think this was part of the discussion we had around the cover. People were talking about a ‘non-descript’ or ‘unrecognisable’ person on the cover and we always kept landing on this ideal of ‘normal’ that I felt didn’t represent the way I had been trying to write the characters. I think ‘normal’ often means ‘closest to the people in power’ and, like I say, I have this idea that if I write characters the way I do, there’s space for people to insert people who look like they do into the work.
Like I say, I’m aware that maybe this is a cop-out for facing the harder questions around including characters who have experiences different from mine.
I always imagine books existing in conversation with other books. If you could place Nothing To See with two or three other books that it would ‘speak’ to, which books would they be?
One book I had in mind was Phillip K. Dick’s A Scanner Darkly because of its interest in addiction and the way it talks about this in a science fiction world. I also have a lot to owe Ocean Vuong’s On Earth We are Briefly Gorgeous which is a work that holds itself strong as a novel despite being linked strongly with autobiography.
Are there any books or writers you see as the most influential in your writing?
Bae Suah has been incredibly influential. Bae Suah writes the feminine experience like no other writer I can think of.
I also think Nothing to See owes so much to the TV series The Leftovers and the work of Brit Marling and Zal Batmanglij both of which were a touchstone for the book.
The Leftovers reminded me that what I was more interested in was the lived experience of the people in an unusual situation, than the mechanics of the situation. Tom Perrotta’s book series begins with a preface which explains a lot about the occurrence and it was interesting to see how much information could be left out of the TV show and it still be satisfying.
I am very obsessed with the idea of ambiguity – or the possibility of two things being true at the same time and that’s where I turn to Brit Marling and Zal Batmanglij work. I am always in awe of the way they manage to keep two realities alive at the same time – resisting resolution – but still make fully engaging and exciting work.
If there was a playlist to accompany Nothing To See, what songs would you have on that list?
Oddly, there is a playlist for Nothing to See J It includes, music from each of the years the book takes place in, quite a bit of Aldous Harding, Fever Ray, Orchestra of Spheres, Car Sseat Headrest (‘Bodies’ in particular), The Knife and Sufjan Stevens.
Tell me how you challenge yourself as a writer, and how you see fiction writing in particular continue to grow stronger in New Zealand?
I think being a writer in New Zealand comes with quite a few in-built challenges and I guess part of how I challenge myself is by trying to find ways to lessen these challenges for other writers. I’m always interested in ways to make room for other writers because I think this is the only way to strengthen fiction writing. I often fail at these very badly and I guess this is another way I try to challenge myself – it’s tempting when I fail to give up, to retreat back into my privilege where I’m safe, but when I mess up I try really hard to not do this. I think often I expect living this way to be straightforward and like a smooth improvement but it is messy and I fail in all sorts of new ways but I can’t see an alternative at the moment and I want change very badly.
What are you reading right now? What is next to be read?
Right at this moment I am reading incredible work in progress from some amazing writers who I’m working with at a couple of tertiary institutions and through a mentoring programme. I get extremely excited when I read this work. I have also really enjoyed the work in Stasis Journal [https://www.stasisjournal.com] which has been an amazing project.
I am really looking forward to reading Almond by Won-Pyung Sohn and Time is the Thing a Body Moves Through by T Fleischmann.