CONTRIBUTOR SPOTLIGHT:
INTERVIEW WITH AMY SEARLE

Rappahannock Review Nonfiction Editors: We love the vivid natural descriptions and interesting settings in “Summer Time,” like the blackcurrant bushes and the lake. What inspired these places in the work? 

Amy Searle: The piece was written on an especially hot day two summers ago in Oxford. I had been walking around and had gone to this lake to have a swim, and I had been people-watching a lot, and I suddenly found all these people around me to be incredibly interesting. It felt as though the way in which they interacted with their environment—the boat, the blackcurrant bushes, the lake—was somehow significant. So I would say the imagery was inspired by Oxford in the summertime, which is really a wonderful place.

RR: What struck us upon first encountering your piece was the unorthodox structure and momentum. How did you land on this stream of consciousness style?

AS:  I suppose I have experimented with a few different styles. When I was younger, for example, after reading a book I would sometimes try to write a piece that mimicked that author’s style. I found myself writing, or at least trying to, like David Foster Wallace for a long time. That being said, I don’t have formal training in writing in any academic sense and so, probably exactly because of this, I find I am drawn to the unstructured styles of poets such as Allen Ginsberg, Frank O’Hara, and—of course—Virginia Woolf. In fact it is not an overstatement to say that I was in awe the first time I read Virginia Woolf. So I find this style of writing most natural, and for me at least it feels like the most honest way of writing. 

RR: Given the prevalence of nature and public spaces throughout the piece, do you ever write outdoors? Or do you have a favorite place that serves as your writing space?

AS: I don’t write outdoors, I find that there are too many interesting things which are ultimately distractions! Mostly I write at home, but occasionally I find public spaces like cafes stimulating. 

RR: We understand from your bio that you’re a physics student. How does your creative writing intersect with your scientific studies?

AS: So far they are quite separate, although I suppose scientific writing is really just a style of writing. I would say when I write scientifically I feel as though I am putting a lot of constraints on the imagery I use, because it is not usual to use extremely evocative imagery. With scientific writing you are trying to be factual and preferably not confusing in any way. When I write prose or poetry, on the other hand, I don’t really mind if what I am writing is confusing, as long as it is enjoyable to read…. I think sometimes it is enjoyable to read something that doesn’t make any sense. 

I have thought about finding some middle road between the two, such as in science communication, but so far I haven’t given that a proper go.

RR: Is summer your favorite season?

AS: By far! I grew up in South Africa, so maybe that has something to do with it.

 


Read “Summer Time” by Amy Searle in Issue 11.1.

Amy Searle

Summer Time

Odd—how I continued going on about my desire for the heat of summer, for the thick of it (the stifling air and cindered body skin) all the while knowing that the heat was not what I craved, with embarrassing childlike desperation, in summer. The heat could not be it, because I spent so much time in summer hiding from it, scavenging out neat squares of shade, craving water, watching the grass in the park wither into a brown carpet and mourning the green that was there in winter, scolding every time the newswoman spoke about the oncoming heat wave with a kind of relish that ought to be reserved for the Beatles, or Judi Dench, or Billie Eilish, or—even Satre, if that’s what does it for you. What was it then, in summer, that made everything feel okay again? Maybe it was that it brought people out of hiding, out of the sacks they had spent the winter warming, their thoughts bombarding around their heads, simmering, stifling in some cases. In summer, the human spirit can be seen on every corner: the two old men by the lake, discussing Berlin housing prices. The lean man crossing his legs, turning his body towards the other, flirting as his toes scratched the water below. His cry of glee as the other mans dog jumped into the water after the ball. And again the second time it happened. It could be seen in the women by the blackcurrant bushes, admiring and stroking them, but refusing to pick the big juicy black things. So just stroking and walking along, and then smiling to each other every few steps. Or the house boat garishly decorated with plants and flowers, with a human-sized barbie doll staring out the window, and the owner calmly sitting beside the entrance on a plastic fold out chair, watching people pass by with a nonchalant but piercing gaze that said, ‘And what about it?’ Or the woman by the lake who said ‘Does anyone know what time it is—I have a watch but it has the wrong day and time’ and with this announcement, before anyone could reply, she let out a gleeful laugh, which was greedy, delicious; it announced itself without shyness or hesitation. And as it rolled out into the air, its starkness shunned judgement at her obviously silly remark, at her complete lack of respect for that ancient tradition of keeping the time—because how did time behave, anyway, at a time like this? Did it creep? Certainly, the pigeons sitting in the shade, the boats lazily making their way down the river, the soft hum of the fridge, begged it to creep. But time did not creep in summer. And neither did it fly. It sat, and watched, as you watched it. And how could it not be satisfied? How could it not be relieved, finally, as everyone danced around in the heat, their insides leaking out, simmering and then settling on the other lonely soul walking past, or talking to you, or maybe especially the one who lay silently next to you on the towel that brilliant hungover day. No, time did not creep or fly—time expanded in moments like these, and you felt that the bits of you which you were letting out were being kept somewhere, stored away, for someone or something else. That is what I craved in summer. 

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Amy Searle grew up in Johannesburg, South Africa, and subsequently moved to Manchester in the United Kingdom to pursue a degree in Physics. She now lives in Oxford. She is interested in writing Poetry and Creative Nonfiction, and in the case of Nonfiction her work aims to address, or just observe, some of the tensions and ironies of our modern society. She is particularly interested in the function of Art and Science in society.