But sometimes, she said, when she first showed people the manuscript, “I could see them visibly get uncomfortable.” “Pretty much every interview I’ve done someone’s asked about it, and every reading I’ve done, someone’s asked about it.” From the beginning of her process writing the novel, she says, it was just clear that the abortion was a choice the protagonist was going to make. “It was something that I didn’t think was going to be that interesting,” Bennett said. In our interview at a Manhattan restaurant, I asked Bennett why she’d chosen the subject. “Overhead, speakers played a meditation CD – classical guitar over crashing waves – and she knew she was supposed to pretend she was lying on a tropical island, pressed against grains of white sand,” Bennett writes, rendering the banality of the experience alongside the poignancy of it. The reader is taken right into the room where the procedure is done. In fact, Bennett follows her character, Nadia, further than any novelist I can think of.
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