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Author QandA Nothing to See - Pip Adam Uncategorized

QandA with Pip Adam

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 booksIf 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.

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Book Reviews Nothing to See - Pip Adam

Book Review: Nothing To See by Pip Adam

To talk about Nothing To See without spoiling the fun is a challenge. Pip Adam’s new novel about sobriety, friendship, and technology follows up from her 2018 Acorn Prize for Fiction winner The New Animals. In this new novel, we follow Peggy and Greta, and for a while Margaret, from 1994 to 2006 to 2018, steeping ourselves in their lives. A plot that sounds almost banal when summarised results in a book impossible to put down.

The incredible cover drew me in to start with: a split face inverted, with bright yellow chunky font running just below their eyes. The joy continues inside the book, too. The novel is loosely divided into thirds, and it draws you in with hypnotic sentences and unsteady narrative. In the first part of the book, we meet Peggy and Greta and follow them from AA meeting to their flat to AA meeting. They make carrot sandwiches. They discover hummus at the dairy. A volunteer job at the Salvation Army shop offers some distraction from their painful desire to drink again and their equally powerful desire never to drink again. They sort clothes for the shop and they eat their lunch in the carpark and discuss their flatmates Heidi and Dell. At home, the phone rings, and no one is there.

I felt like I was holding my breath while I read. The writing’s like a frozen lake: with each step, with each phrase, I wasn’t sure the ice would hold my weight. A sentence declares one idea, and the next sentence contradicts it, leaving the reader to work hard to stay on the surface. It’s funny too. The humour has teeth, and it doesn’t let go.

My favourite scene from this section is a picnic at a local park. From the overladen picnic table to the dramatic volleyball game, it’s cringe after cringe after cringe until your brain cramps from the exertion.

Alcohol abuse and sobriety play an enormous part in this novel, and while the pull of the bottle withers somewhat for the main characters, it never dies away. Early sobriety’s a colossal change in lifestyle. The addict is forced to make a break in their life, a before and an after. They must reject their former self to make space for the new. This division is essential to the person learning to live sober, and it holds tightly to the stopwatch that marks the minutes since they left behind that other self. A few pages in, and, despite Peggy and Greta’s inability to do very much for themselves, they are obsessively keeping sight of the passing time since they stopped drinking, ‘…it was ten months and three weeks and two days.’ But is this division a satisfactory explanation for all the changes in their life? Not at all. The novel twists and turns away from a neat solution.

The second part of the novel sees Peggy and Greta move to another island, another city, one with hills and trains. The writing tightens a bit, the vocabulary extends, and Peggy and Greta move into their thirties. There’s a calm to them, and to the writing, that wasn’t present before, and it’s interesting to consider if perhaps this magnifies the evolving cohesion of Peggy and Greta, a smoothing out of rough edges.

And then comes page 237. Reader, I gasped. There’s no way to tell you what happened without spoiling the shock. The ice broke, just when I thought that it had hardened and solidified to be safe enough to run across.

This novel notices, unpicks, and analyses the limitations and discrimination inherent in bureaucracy and in the systems that govern us. We see a world resistant to change in order to help these women find work, find shelter, and feed themselves. It’s tempting to draw parallels between this and the systemic discrimination of people based on ethnicity and religion, disabilities, and health issues, in particular mental health.

The propellent in the story seemed to be the relationship between Peggy and Greta and Heidi and Dell, their former flatmates and fellow recovering alcoholics. The dynamics of the women kept the suspense factor high, and the novel casts friendship through a prism, watching the deterioration and evolution of connection through many years and in constantly changing environments.

This book melts the boundaries between language and computer code, human behaviour and mysterious text messages on a Tamagotchi phone. It investigates loss and heartbreak and growing up and saying goodbye. And this doesn’t even touch the edges of where this novel goes. It moves from AA meetings to an experiment with the simulation hypothesis of explaining our world. Unafraid to shine a bright light into dark corners, Adam’s novel Nothing To See is compelling literary fiction with a startling yellow spine – you won’t forget it in a hurry.