Naja Marie Aidt
Real life is definitely where I get most of my inspiration. I mean, you just walk to streets, and you’ll definitely find something that can lead you to write a short story. But I think that I always had the belief that if I saw or heard anything strong enough, I would remember. And maybe that’s the reason why I didn’t take notes.1 So, I would spend a lot of time just, you know, being alive, walking around, listening to what other people say, maybe write down my dreams, read a lot of books, watch television, listen to music, all of that.
And then, at some point, I had this almost physical feeling that I gathered enough inspiration, and then I will just sit down and write. But for instance, for Baboon, I had a clear idea at some point that I wanted to explore the Danish society. And at that point when I wrote the book, it was around 2005-06. We were so rich because of the economical boom. And I wanted to — everything was about materialism, everything was about money. And I wanted to kind of invent a new style of prose, a more — a physical prose in a way, a hysteric physical prose that would not be psychological realism, but would be — yeah, focusing on everything physical.
So, that was kind of my plan. And it took me a long, long time to invent this prose. Because if you read the book, you’ll probably find that you don’t get to hear a lot about — you’re not inside people’s minds, right? So, you will always — you will hear about their reflections on being physical, alive, meeting, like bodies meeting the world in a way.