Happily, Milo’s initial trilogy, beginning with The Tourist and ending with An American Spy, worked out pretty well. Sometimes these shifts are tectonic, though more often they’re incremental, the shifts more apparent to the writer than to the casual reader, and some shifts are more successful than others. We look back on our work, notice its limitations, and feel a natural impulse to go beyond, to go further. I suspect this kind of shift is common for writers who have a few books under their belt. Thus, Milo Weaver, reluctant CIA officer in the Department of Tourism, was born. Instead of dealing with the world I was living in, I feared, I was leaning into the 20/20 hindsight of history in order to avoid the confusion of the contemporary world. My earlier writing-five novels set in Eastern Europe during the Cold War-had begun to feel like a kind of escape from the messy, post-9/11 world unfolding around me.
When I first began writing about Milo Weaver in 2007, I was attempting to change course creatively.
0 kommentar(er)
