Danielle Dutton Quotes & Sayings

Back then, when I had that original idea to write about the seventeenth century, the whole thing was set in 1666. I was thinking of Margaret near the end of her life, and that was the voice I heard for her. — Danielle Dutton

An utter success,' her stepdaughters confided to
Margaret as they prepared to take their leave. 'The handsome king! That spoof!' Still the rain persisted, and the bishop had lost his hat. Maids danced in and out. Where was the bishop's hat? Alone at the window, Margaret didn't hear. The reflection of the parlor was yellow and warm. She watched it empty out. Then, an interruption. A voice came at her side: 'What do you look at with such interest, Lady Cavendish?' What did she see in the glass? She saw the Marchioness of Newcastle. She saw the aging wife of an aged marquess, without even any children to dignify her life. — Danielle Dutton

On the fifth night of this solitude, she falls asleep with a candle burning and dreams herself a mermaid with a thick and golden tail, a crown of shimmering conch shells, then awakens with a start. Whether the ship hit something or something hit the ship, another change has come. The ship is dying; she can feel it slipping away. She waits beneath the blanket for icy water to greet her. But instead of the sea, it's a bear that opens the door.

A great white bear up on its hind legs steps across the threshold.

'Good morning,' he says, and reaches out a paw. — Danielle Dutton

So it was this multi-perspective, multi-character book, and it went through all of these different manifestations. I'm not sure there was a single moment where I thought to myself, Oh, I need to write about Margaret Cavendish. She just kept taking over the book I thought I was writing. — Danielle Dutton

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. — Danielle Dutton

Yet why must grammar be like a prison for the mind? Might not language be as a closet full of gowns? Of a generally similar cut, with a hole for the head and neck to pass, but filled with difference and a variety of trimmings so that we don't grow bored? — Danielle Dutton

It was indescribable what she wanted. She was restless. She wanted to work. She wanted to be thirty people. She wanted to wear a cap of pearls and a coat of bright blue diamonds. To live as nature does, in many ages, in many brains — Danielle Dutton

It's interesting, editing can be so immersive for me that I've noticed that the authors I edit have a pretty profound effect on how I hear language for a while. — Danielle Dutton

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. — Danielle Dutton

I can be a fairly hands-on editor, and when I'm editing someone I feel intensely invested in that writer and her work. I love helping to shape a book, and I feel very privileged to get to do that with writers I'm excited about. I think doing that work for the past six years has changed me, and it better prepared me for the questions and suggestions. — Danielle Dutton

I found myself in an unknown universe, whirling far into space. African servants, dogs in hats, platonic ideals, sparkling conversation, and ivy-coated quadrangles with womanizing captains, dueling earls, actors. I met Father Cyprien de Gamache, her majesty's wily confessor; William, a poet, who claimed to be Shakespeare's son; and a giggling dwarf called Jeffry, who'd been presented to the queen in a pie. I met the ladies-in-waiting, too, who hardly looked my way, busy as they were, bickering over who went where and when, who wore what and when, who fetched what and why, who said what and to whom, and who gave her the right to say that. — Danielle Dutton

I sense people expect something to show for ten years. But I do feel like it is dense. Some of my own favorite books are slim, but there's a lot of weight and power in them. — Danielle Dutton

At the embassy for supper - quail in broth and oysters - Lady Browne remembered my father, whom she'd met at Queen Elizabeth's court. Yet one name only was on the tongue of Sir Richard: William Cavendish, newly made marquess. This gentleman, he reported between oysters, had recently fled to Hamburg after losing badly with a regiment raised near York. A master horseman and fencer, and one of the richest men in England, he wrote plays - oyster - collected viols - oyster - "his particular love in music" - and was by all accounts - oyster - affable and quick. — Danielle Dutton

I'm not sure running the press has changed how I write (though perhaps it has in ways I can't see), but it has certainly changed my relationship to how books get made. — Danielle Dutton

Sixteen, I reflected, biting into a stolen pie. By this time in her life, my sister Mary had been pregnant. Ovid had dedicated his life to poetry. Queen Elizabeth had seen a suitor beheaded. Romeo and Juliet were dead. Whereas I, Margaret Lucas, was nothing if not in health, no single true adventure to my name. — Danielle Dutton

Still, Antwerp, the parties, my husband's talks--all of it fed my mind. I'd hardly set down my quill before I took it up again, writing stories unconnected--of a pimp, a virgin, a rogue--strung up like pearls on a thread. ... 'I am very ambitious, yet 'tis neither for Beauty, Wit, Titles, Wealth, or Power, but as they are steps to raise me to Fames Tower.'

O minor victory! O small delight! My star began to rise. — Danielle Dutton

I had rather be a meteor, single, alone.'

Plus Paris itself was noisome. Even with its glittering bridges and orangeries, even if the birthplace of ballet.

'I had rather been a meteor, than a star in a crowd. — Danielle Dutton

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. — Danielle Dutton

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. — Danielle Dutton

As a publisher what you are trying to build is a long life for a book, to help it find its readers in many different ways, whether or not it made this list or got that review, etc. I'm sure some of that thinking has been useful to me as a writer as well. — Danielle Dutton

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. — Danielle Dutton

Finding the form was really a very dynamic process. I went through a lot of shifting, trying to get it right. Because the writing took place over such a long time, it's hard for me to pinpoint when specific things happened, but basically the final version only materialized in the last two or so years. It was there, but it took me a while to see it and then to refine it after I'd seen it. — Danielle Dutton

Margaret Cavendish was one of the people who came up in the course. That was when I started thinking about her as a character for a book, but my idea was for a totally different book. It had all these characters in it; Samuel Pepys was one of the main characters. He famously wrote these extensive diaries through the period that are really funny and sort of saucy, actually. — Danielle Dutton

I suppose also that watching marketing and publicity stuff play out from behind the scenes, making those plans and seeing each piece fall into place or not, each year, for each book, has made me a little more tranquil about the process for my own book than I might otherwise be. — Danielle Dutton

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. — Danielle Dutton

It's so exciting when a book catches traction you didn't even expect (or completely did expect!), and so frustrating when a book never quite catches the traction you know it deserves. But either way it doesn't change the book, it doesn't change how much I love that book, or how thrilled I am to be publishing it. — Danielle Dutton

...the duchess confesses that 'she would not be like others in any thing if it were possible; I endeavor,' she tells him, 'to be as singular as I can; for it argues but a mean Nature to imitate others; and though I do not love to be imitated if I can possibly avoid it; yet rather than imitate others, I should chuse to be imitated by others; for my nature is such, that I had rather appear worse in singularity, than better in the Mode. — Danielle Dutton

She was reading Francis Godwin's Man in the Moone--its man was borne into space in a carriage drawn by swans--when she heard the sound of wheels upon the gravel. Two boxes from Martin & Allestyre were set down on the drive. 'My modest closet plays,' she said. She nearly ran down the stairs--for the recovery of her wayward crates that spring and the preparation of her plays for publication had rekindled inside Margaret a flame she'd feared had gone out. ... But now, in turning the pages, she grew concerned and then incensed: 'reins' where she had written 'veins,' 'exterior' when she had clearly meant 'interior.' The sun went down. The room grew dim. ... 'Before the printer ruined it,' she cried, 'my book was good!'

'Could it be,' he asked, soaking his bread in {lamb's} blood, 'that you were yourself the cause of this misfortune? — Danielle Dutton

One night, the Duarte girl, sang poems set to music in a voice so clear I felt my soul rise up inside my ear. In a garden of clematis, with servants dressed like Gypsies placing candles in the trees, we assembled on the grass, between a Belgian wood and {the Duchess of Lorraine}'s glassy pond. In a pale orange gown I read two pieces I'd prepared...When the ladies clapped their approval in the dark, everything, to me, was suddenly bright and near. — Danielle Dutton

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. — Danielle Dutton

I would be researching seventeenth-century garden design or I would be doing something with Pepys, but I just kept using all of it to write about Margaret Cavendish. It took me a long time to realize that I just wanted to write a book about her. Years. — Danielle Dutton

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. — Danielle Dutton

Does every river make a music of its own? — Danielle Dutton

But when I realized it was actually going to be this portrait of the artist, birth to death, I had to then discover who Margaret as a young woman would be. I had to find the different voices for her throughout her life. I had a lot of fun discovering that. I had a lot of fun writing the childhood sections. By imagining her childhood, I was able to come up with this voice that matures as she gets older. — Danielle Dutton

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. — Danielle Dutton

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. — Danielle Dutton

Yet she is happy -- is it happiness she feels? -- as she places her things in the cupboards and drawers. Her quills, stockings, shoes. The room is dotted by porcelain figures. Punctuated, she thinks. She picks one up, puts it down. The former wife's collection? Then opens a window to London bells and that green-silk scent of spring. And she sees now, here in this room, how badly she'd needed to leave. — Danielle Dutton

Yet how hard it is to point to a moment. To say: there, in that moment, I changed. — Danielle Dutton

Off come her skirts and petticoats, her lace cuffs and collar, her shoes and whalebone stay, until she lies on her side in nothing but a cotton shift and endless strands of pearls. Dust hangs in a crack of light between red velvet drapes, like stars.

Her dreams are glimpses, bewildered--celestial charts, oceanic swells, massive, moving bodies of water, the heavens as heavenly liquid, familiar whirlpools, the universe as a ship lost at sea--but the ship she imagines arrived safely, years ago, loaded with their possessions. — Danielle Dutton