2026
All she has been doing ever since is trying to stay with me while exposing herself to unimaginable risks and losses. Yet she tells me this is freedom for her.
Meg was running too
When they see the boat they think we are “cruisers”. In marinas, they think we “love boats”. In the Third World, they think we are rich. All of it is wrong.
Movement as a way of going on and a trap. Being an alien. Constant pressure to leave
I think it’s the sheer power of Elena wanting her life back. AND she acts on it. I love that.
Why a screenplay? What it does for me. What’s next?
This is the issue for Meg and me now. How in the hell are we supposed to “re-enter” society when it is killing us?
Where is home? Fear of the sea and autonomy that it gives. Re-entering society after being free
I feel like the world is truly mine only when I am my true self.
About the cost of following expectations and deviating
I want to be left alone. To not need an address. To not need papers. To not slave for somebody invisible while getting just enough to prolong my suffering. I want something that this world will not give me. But I still want it.
Why borders, nationality and address don’t do it
We actually never thought about living anywhere. We started moving and never found a place we’d want to stay.
About never settling and discomfort in today’s world
…When people learn of the story, when they meet Meg and me… Something happens that I don’t know the word for. It is magic, and I don’t want to deconstruct it by giving it a name.
About the encounter in New Bedford, the power of Mandy, and writing the screenplay
Once I saw my own indoctrination, I never had doubts about what was right for me and that I had the absolute right to make that happen.
About making it over the fence and building a life with Meg