![]() There’s no structure: it’s the voice, her, a pen and some paper. When Laguna writes a novel the first step is a monologue in the voice of a character who seems to her to emerge from the subsconscious – perhaps this technique stems from her training as an actor at the Victorian College of the Arts. But Lawrence does have his love of nature, and he has that obsession with painting and artists. “I’m showing the devastating aftermath where that kind of abuse severs relationships,” Laguna says. ![]() He develops a stammer that renders him more isolated and more vulnerable. In Infinite Splendours it is Lawrence who doesn’t have that power and so when he is abused, brutally, he becomes “separate”, as he calls it, from his family and then increasingly from the world as he has known it. “I want to investigate what happens when you have someone who doesn’t have the power to set boundaries.” I push it to extremes for my own reasons that I don’t necessarily understand or want to understand,” Laguna says from her home in locked-down Melbourne. “I am interested in where boundaries are crossed and how destructive it is when boundaries are not respected. ![]()
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