The Man Who Obviated Christmas follows a lonely, aging catalog manager whose comic Christmas Eve misadventure with two stranded kittens leads him toward an unexpected late-life reckoning. What was the inspiration for the setup of your story?

Last autumn, I decided to send a Christmas story instead of a greeting card to a few of my old friends. The idea was for an anti-Santa Claus figure. The cat rescue was the result. Edward had the proportions of Santa, was dressed in black, climbed a ladder instead of sliding down a chimney, was gruff to children, and yet brought them joy and gave away all his money for presents. After Christmas, I found that I was still intrigued with Edward and Kleo. They were live characters. For me, once I get a couple of live characters, the book has basically been written, I sit back and watch and record. So Christmas became the backdrop, the mood, the tint.

Edward Brash is often vain, fussy, and ridiculous, yet deeply sympathetic. How did you balance his comic flaws with his emotional vulnerability?​

Social isolation can induce all of those flaws. But loss doesn’t necessarily affect a person’s innate character. Inwardly, Edward was still the raw kid who wound up for one magical year with a beautiful, sophisticated wife. In self-induced mourning for three decades, he has grown a skin, but in his mind, he could toss all the years away and would again magically become slim if Autumn walked through the door.

Why did Christmas feel like the right setting for Edward’s story, especially given the novel’s resistance to easy sentimentality?​

See above. Also, this is a story set intentionally in black and white. What could be more black and white than a cold Christmas Eve or a rainy New Year’s Eve?

Kleo is not presented as a simple cure for Edward’s loneliness. How did you approach writing their relationship with restraint and emotional honesty?​

I wish I had a woman’s point of view, because I would have made Kleo the principle character instead of Edward.) It’s beyond my experience that mature people can fall in love and simply shed their characters. By New Year’s Eve, Edward and Kleo still don’t know much about each other’s private lives. Is Kleo delusional? Is Edward hiding something? But they’ve spent their lives working together, eyeing and unconsciously evaluating each other every business day. They trust each other. Maybe that’s enough to make the survival existences they have each fashioned tolerable, at least for a start.

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