Danielle Dutton Quotes
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I had all these sparkles I'd collected and wanted to work in, but when I originally started writing it and it was originally this novel about all these people set in 1666, what I was so interested in was the New Science.
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I was sad to see some of them go. Like a magic lantern that would project images on walls and people would travel the countryside with these magic lanterns and tell stories. And there was this cabinet that you would walk up to and it had a little peephole and inside the whole thing was covered in thousands of little mirrors.
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There was a stage inside it and a crank on the outside that would rotate something, like a tiny tree carved of cork, onto the stage, and then the thousands of little mirrors would multiply that one tree so that the viewer would see an infinite forest instead.
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I was obsessed with the scientific instruments people were building and all the weird experiments they were doing. I did actually wind up working in some of that, but there were whole sections I'd written about these instruments that ultimately had to be abandoned when I realized that the book really was about Margaret Cavendish. I couldn't justify using all of them.
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The reason the middle section switches to third person is, well, this is middle age. This is the part in her life where she loses track of something that was driving her and has to figure out what's going to drive the next part of her mission, this mission to be an author. I had to push back away from her for a while before we could come up to that really lyrical close third in the final section.
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It's all just so fraught when you're writing and then going through the editorial process. It feels like this shape-shifting thing. When it's done, and you can't change a single word, it's a totally different thing. I was surprised by what that thing was.
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I'm not entirely sure what a historical novel absolutely has to be, but you don't want a reader who loves a very traditional historical novel to go in with the expectation that this is going to deliver the same kind of reading experience. I think what's contemporary about my book has something to do with how condensed things are.
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The way I've talked about my research process is that it was like magpies. I was just sort of moving through all these books and when something shiny would pop out I'd be like, Ooh, I love it! and I'd pluck it out. It's fun to figure out how to use those bits you really love - like I'd read about gold shoes with cork heels. Obviously, Margaret would have to wear those shoes.
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I was trying to focus on Margaret's trajectory as an artist, as a woman and an artist. Hopefully Cavendish experts won't be angry at me for anything I've left out. I feel like all the major movements of her life are there.
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I loved reading historical novels when I was young, but I definitely don't think I wrote one. When I read my book through, when it was completely done and in printed galleys, I was surprised by how uninterested in the passage of time and history the book seemed to be. Even though you can feel it all there, that's just not what it's focused on.