![]() There’s a tension between the dream of starting over in the West, and the reality that you can’t leave your own past behind. ![]() What do you see as the relationship between these aspects of your writing and the history of the American West? It seems to me that you frequently explore memory, artifacts, and issues of authenticity through intersections between artifacts of the past and human problems of the present. The result is this collection, Recapture. Working in archaeology museums sparked a return to exploring these issues in fiction in a more systematic way. In my grad program I discovered a whole theoretical underpinning to my interest in memory, artifacts, and issues of authenticity. ![]() I got more and more interested in the past, to the point where I did some formal study of archives management. My writing actually influenced my career change from full-time editorial work to museum work. I was hiking and camping in this area, and writing about it, for fifteen years before I moved here. ![]() ![]() Most of the stories in Recapture take place in the canyon country (and mountains, and sagebrush plains) of the Four Corners area, especially southeast Utah. Can you tell me a little about how your work in these disciplines has influenced your writing in Recapture? Prose Editor Lindsey Griffin interviews Recapture author Erica Olsen.Įrica, in addition to writing, I understand that you also do curation and archive work for archeology museums. ![]()
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