![]() ![]() In this novel, you bring back Wren, a fairly minor character, but we don't see DeDe at all. You have so many characters to work with. ( laughs) All I had to do was Google "1930s whorehouse menu." And I came up with a wonderful list of items. The internet was enormously helpful in that regard. Why did you want to go back in time?ĪM: Partially I liked the idea of moving myself from the present day and wandering around in the desert in 1930. All of Tales of the City has been in real time, and I was intrigued by the notion of giving her a backstory that no one knew about. And the notion of returning to her boyhood in Winnemucca fascinated me. Was Anna Madrigal just the next logical choice?ĪM: Yeah, I didn't think I could take off without focusing on her. ![]() ![]() The last two novels incorporate many of your characters, but they really focus on, first, Michael, and then, Mary Ann. I'm also going to be 70 in May, so I'd like to leave a little space for myself to explore some new ideas. I've taken a great deal of care with all nine of these novels, and I want to leave on a high point. ![]() Why did you decide to end the Tales of the City series with The Days of Anna Madrigal?Īrmistead Maupin: It's based on the fact that I don't want to betray the characters by writing them in an automatic fashion. ![]()
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