I was asked some great wranglesome questions by Tobias Carroll about On the Edges of Vision, realism, place and the current state of Scottish literature:
How did the particular group of stories that make up On the Edges of Vision come together? What was the process of ordering them like?
I had two stories, ‘Pretty Dead Girl Takes a Break’ and ‘Boy Cyclops’ that were a bit older, and I think the impetus behind them was something that my subconscious needed time to gnaw on a while. I wrote most of the rest of the stories in a month and a half, pushed on by the sudden realisation that I really wanted to write about monsters, and monstrous humanity. The various shifting and unsettle selves we carry or let rattle around in these strange things, our bodies.
Ordering was based around looking to compliment themes and styles – if one story was first person, it should go next to third. If the story was of corpses or reanimated bodies, I wanted its neighbour to be full of life. It was pretty intuitive that way. Stick each down like a coloured scrap of paper, where it feels like it will look best.