KMWR: Can you tell us more about Miss Betty Mason and how you developed the world of the Ministry of Health and Economic Affairs? What was your writing process like?

CH: I took Betty's name from Bertha Mason in Jane Eyre. In the novel, Bertha is the "mad woman in the attic". In my piece, Betty has to go all the way up to the top floor as well, where all the societal programming and shaming are located and put her down. This is represented by the Minister. For me, that world is a dystopian vision of what could happen once Western governments realise we'll die out if women don't have enough children anymore. Even now, health and economy are intertwined in ways that are harmful for societies as big pharma needs to make profit off of people's illnesses. When we don't "function" the way we should, blame and shame are so often put on the individual, when in fact, structural issues are the underlying cause. 

KMWR: A piece of writing of yours that I really love is “Bäckerei Müller.” In that story, you write, “Shame and anticipation feel exactly the same.” I felt as though that line could also be found within “Anorgasmia”—can you speak to how writing about women leads to these ruminations on shame and sexuality?

CH: That's a very interesting observation, and I agree with you! I think a lot of women grow up in a society that represses female lust and sexuality. When I was a teenager, I remember how girls had to be careful not to be "slutty", but at the same time, being a "wallflower" would lead to being mocked and excluded. It was almost impossible to get it right. Anticipation and shame would always go hand in hand when it came to exploring my sexuality. Now I've built a lot more confidence around my body and desires, but the way to get there took a lot of effort and resistance to conform. From my experience, many women can relate to that. 
KMWR: What would you say are your own personal ideal writing conditions? What about unideal conditions—and do you fight to write anyway?

CH: My ideal writing conditions are with lots of time and a quiet space, but I also have to live fully to find inspiration, access the full range of emotions and come up with fresh ideas. Ideally, I have a little bit of pressure, but not too much. And a little bit of heartache, but not too much. Not ideal for me is having to squeeze in my writing sessions in small intervals throughout the day, but I've done it anyway and would always do it again if the circumstances require it. I just have to write, no matter what. 
KMWR: What elements/experiences of poetry do you bring to your prose and what do you leave behind?
CH: That's a great question! I like to think that I bring the attention to detail on the line level to my prose. I enjoy coming up with fresh imagery and language. Sometimes that can be tricky, though, because my prose tends to lack in plot and pacing when I lean into my poetic mode too much. Essentially, the boundaries between prose and poetry are blurry and blending the two has proven fruitful for me. "Anorgasmia" started as a prose poem, actually, before I realised it had become a bit too long and plot-heavy to fit into that genre. But my process of writing this piece was the same as for my poetry! 
KMWR: Can you tell us about what you’ve been reading lately and what you would recommend?

CH: I've recently read Rachel Yoder's "Nightbitch" and loved it. It transformed my reality; it's so fresh, weird, hilarious, engaging and thought-provoking! I also adored Paul Lynch's "Prophet Song" for its beautiful language on a line level. My all-time favourites with strange, unhinged female characters would be "Tennis Lessons" by Susannah Dickey and "The Pisces" by Melissa Broder.