Jennifer Hodgson: I first encountered Quin in that way books have of opening into one another.
Tobias Carroll: We’ll start with the basics: where did you first encounter Ann Quin’s writings? Did you find yourself drawn to them from the first read, or did they grow on you more slowly? Over email, we discussed the process of assembling The Unmapped Country, how the collection speaks to her legacy, and the works and movements that helped shape Quin’s own work. Jennifer Hodgson edited the book and contributed its introduction. The new collection The Unmapped Country brings together Quin’s shorter works, from stories and some autobiographical pieces to writings that were unfinished at the time of her death. In the ensuing years, Quin’s work has gained a cult following for its innovation, its tactile sense of place, and its unique ability to capture a feeling of desperate unease. Tripticks was the fourth and final novel that Quin published in her lifetime she died the following year. This led me to Quin’s 1972 Tripticks, a formally bold and deeply unsettling work–the sort of experimental fiction that reconfigures how you process text, feels ahead of its time. M y first exposure to the works of Ann Quin, if memory serves, came via a list of recommendations by Blake Butler of notable books published by Dalkey Archive Press.
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