Sue Miller

I wasn't enraged or anything.

I enjoyed reading them.

But I felt as though there was sort of half the world that they weren't looking at very carefully.

And I know that, you know, this is how you come to be seen as a domestic writer and kind of dismissed.

But I felt very keenly that right from the start of my writing life.

Chekhov and Turgenev and Tolstoy.

Let's see, Pritchett, these short stories I love, and William Trevor.

So a lot of men.

And then the women I think I've sort of at least partially covered.

But Alison Rowe is just someone whose work just opened a door for me in terms of the way she works, the kind of freedom with which her narratives move around.

And then the wonderful American writer,

Grace Paley, whose voice is just inimitable.

I mean, you can't really learn anything from her because she's just so unique, but you can sure admire her.

I, for a long time, was a big fan of Flannery O'Connor, and I don't quite feel that way anymore.

I feel a little straitjacketed in her fiction because she so wants to move you in a certain direction.

There's a kind of rigidity to it, I think, although she's hilariously funny.

I love some of the work of David Malouf.

I love an American writer named Brian Wharton, a contemporary writer named Brian Wharton.

A lot of people, a lot.

But I think the dearest ones to my heart are Monroe, Hadley, the Russians.