“As a writer, I’m interested in not just what fiction says but in what it keeps unsaid. I try, when I write, to leave open as many avenues of interpretation as possible,” Hila Blum, who has a story in this week’s issue, says.
,” opens as a woman is standing on a suburban street in the Netherlands, looking through a window at two young girls she’s never met. We later learn that the woman, Yoella, has travelled there from Israel, and that these girls are her granddaughters—the children of her daughter, Leah. When did this image first come to you?
In the story, as in the novel, the chronology repeatedly shifts, as Yoella recalls episodes in her life with Leah and with her partner, Meir, Leah’s father. We learn early on that her relationship with her daughter has collapsed, but we often see a close family unit. Do you imagine the reader will be looking for potential fault lines in all those interactions? Yoella thinks about a game of cards she once played with Meir and Leah and wishes she’d acted differently.
Readers often see Yoella’s and Leah’s relationship in terms of distance, a growing apart. And at times I do, too. But there are moments when I’m not sure about that. We could also say that, if Leahgrow apart from her mother, she might have been able to stay in Israel, or at least to stay in touch. I guess in some sense the two of them are too close, and, regarding privacy, in certain aspects they haven’t moved very far beyond the early years of their mother-child relationship.
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