By Aminah Sheikh

isa kamari

Let’s get down to brass tacks. Why do you write?

I write when I am disturbed by issues or ideas. I then do a bit of research on the subject matter. I begin to write if I have a sense of resolution and only if I can offer windows for readers to ponder upon the issues and form their own thoughts or opinions on them. In that sense I write to grow and validate my own existence.

Tell us about your most recent book or writing project. What were you trying to say or achieve with it? 

In my next novel I am exploring the need for religion to grow naturally with cultural practices. This is to ensure that the practice of religion is relevant, meaningful and not alienated from the lives of the adherents. Much of what we see today is the opposite. Religion is very much an imposition or a borrowed phenomenon imported from peoples of different cultural backgrounds. This has resulted in unnecessary tension and alienation.

Describe your writing aesthetic. 

I try to write simply, yet offer layers of interpretation on my work.

By Aminah Sheikh

Processed with VSCO with a1 preset

Let’s get down to brass tacks. Why do you write?

Because eventually we will all be reduced to nothing – and that is something I refuse to accept, or believe.

Tell us about your most recent book or writing project. What were you trying to say or achieve with it?

Epigram Books released my first novel, Kappa Quartet, in September 2016. It was a conscious effort on my part, I believe, to have my first novel encapsulate who I was/am as a writer. For instance I believe in the essential premise of irrealism – that a gap exists between the infinite possibilities of the universe and the limited ability of our consciousness to perceive or understand it – and that a writer of fiction really shouldn’t be viewed as an oracle, or a sage, or provider of solutions. But I did, on a basic level, want to explore the various ways in which people learn to live and cope with feelings of emptiness; it was the baseline on which I built my stories and characters for the novel.

Describe your writing aesthetic.

As an observer of the world I believe in immanence; as a member of human society I believe in interconnectivity, diversity, and the power of shared experience; as a craftsman of words I lean towards simplicity, a lightness of touch, and a good clip, a steady pace.

Who are your favorite authors?

My favourite authors are Margaret Atwood, Michael Cunningham, and Haruki Murakami. And I will always be in awe of Stephanie Ye, David Mitchell, and Yoko Ogawa.

The only dead person I will credit as a favourite is Willa Cather, for Death Comes for the Archbishop.

What’s the most challenging piece of writing you’ve attempted? Tell us why.

It’ll have to be my current project. Titled Lovelier, it’s a book-length project that intertwines poetry with short stories to tell a complete but broken tale about a cast of millennials. They’re creative, ambitious, and yet constantly prone to failure, and so I adore them. I could have gone with a simpler structure, of course – I could have gone with one or the other, poetry or prose – but that’s just me. The pieces are all there, and I’m still waiting on the decision to cut half of it away or keep them all.