The initial impulse was just liking it in other books. … Also, coming from a community that felt voiceless in the larger scheme of things—as far as movies and literature, as far as representation goes—it felt like the right decision to have a whole bunch of voices come out, as opposed to one or two.
I wanted to write characters that felt true and real, and there’s a lot of harrowing detail about the lives of Native people. You can just look at the health statistics and they’re pretty staggering. I wanted the characters to be working-class, because so often the characters in novels that I’ve read are white and upper-middle-class with white, upper-middle-class problems…
In Stein’s Everybody’s Autobiography, she talks about how someone was asking her what it’s like to come back to her childhood home in Oakland, where I also come from, and she says, “There is no there there.” She was talking about how it had been developed over and was unrecognisable. I was using that as a parallel to Native experience and the “there there” of the land before it was colonised, developed over and bordered.