John Connolly est en interview en anglais ici.

L'auteur du Livre des Choses Perdues parle de son nouveau roman : Every Dead Thing.

Extrait :

Citation:

Every Dead Thing is a complex novel, not only thematically, but structurally – do you ever look back on it now and marvel that you managed to pull it off in a debut novel? Think ‘Oh, my God, what was I thinking? How did I do that?’ John Connolly : I try not to look back too much at all, mainly because, like a nervous mountain climber, I’m afraid that if I look down I’ll fall. Structurally, Every Dead Thing has always had its critics because it’s structured like an hourglass, with one plot feeding through a narrow channel into another plot that is linked thematically, rather than directly, to the first plot. At the time, that was just how I wanted to write it, and as the initial chapters had already been rejected by just about every publisher everywhere I didn’t really feel beholden to anyone. Also, it took so many years to write that it was a bit like being lost in a forest for much of the time, and I have only very vague memories of how I got out. If I could change one thing about it, I would probably tone down some of the violence. It was more explicit in its descriptions than it needed to be, but I was a young author and I wanted people to understand how Parker could be so traumatised, and to give the reader a real sense of the nightmare world that the investigation forced him to inhabit. I’d like to think that I could do it more subtly now, but I might be wrong. It’s the curse of being a series writer: occasionally, a reader will come up and tell you that he or she still thinks that your first novel is the best, and you sigh and wonder if that means you’ve been going downhill ever since.