"I knew that Marina was born at the turn of the century and that her development would mirror and incorporate the history of the revolution and the literary history of the time as well — whom she admired, whom she would emulate. And that was basically all. The rest grew organically, moving back and forth, between her individuation as a woman, an artist, and a maturing moral entity, and the unfolding of the revolution — an intricately linked micro and macro story.”
—Wide ranging conversation with Boris Dralyuk on the creation of MARINA M. and CHIMES OF A LOST CATHEDRAL in the Los Angeles Review of Books