But running through it, from the first story to the last (written seven years or so later) was this desire to somehow carve out a new space for myself via the sound of the sentences. I didn’t care if they were conventionally beautiful (they weren’t) – I just wanted for them to call attention to themselves. That was my benchmark: is there anything

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What if we understood “editing” not to be “correcting” but “revealing” – revealing a new voice. And not a voice that we are “aiming for” or that “sounds like us,” in which we “tell our truths,” but just one that is more interesting? Harder to ignore? And maybe, seeing it on the page for the first time, this voice might perplex or trouble us because

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