Maybe Vesta most poetically,” Moshfegh said. “I’ve written about incarceration in some form in every novel. Storytelling simultaneously becomes her jailer and her way out of a solitary existence-a paradox at the heart of writing itself.
She attempts to escape her own life by turning into a writer of sorts: She begins inventing characters and other consciousnesses. Yet Vesta’s loneliness eventually becomes a snare of its own, forcing her ever inward. Her husband, Walter, has recently died, liberating her from a stifling marriage.
She’s financially comfortable, with no job or responsibilities to constrain her time. Vesta, the protagonist, lives alone in a small town. I can listen to music maybe once or twice a month, not just turning on the car, but like actually sit down and listen to music, because it affects me deeply.On the surface, the narrator of Moshfegh’s new novel, Death in Her Hands, is relatively free. For the same reason, I can't really listen to music, I'm too hyper-sensitive. Either it's boring because it's not what I want in my head or if it's amazing and if I pay too close attention to it, then I'll lose the track that I'm on.
The other thing when I'm writing a novel, like I am right now, it's really hard to read other people's fiction. I have some muscular eye issues and I exhaust my eyes working on my own shit so if I have to read any more I'm like oh god this hurts. "This is really sad and sometimes shameful, but I really can't read very much for a lot of different reasons," she tells me. Pictures in books are a welcome respite, she says, as she's judicious about reading. "It's roughly late 14th century, so I get to look at some medieval art," she says with peak interest. She's also working on a new novel - set in the medieval period. She's adapting Rachel Kushner's The Mars Room as a screenplay and trying to produce her own projects for TV and film. From her vantage point just outside of Los Angeles, Moshfegh courts Hollywood. Now, Moshfegh spends days writing and walking her dogs in Pasadena.
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