Speaking very softly, Davis asks if “Edie” will be participating in the interview, with the answer yes. McCaffery asks about the inspiration for stories and mentions Davis’s “Pastor Arlene’s Newsletter.” McCaffery asks about Davis’s writing process, which she says is “different in each case.” She writes under a “time constraint” and keeps a notebook. Edie asks about her use of pronouns, and both interviewers ask about stories with no names. Davis has “lost interest” in “making up names” and talks about selection of events and points of view. She mentions her short story “Lord Royston’s Tour” and passages from a book on the Suzuki method and her work as a translator. McCaffery asks why she does not write novels. On the 2nd side Davis says it would be hard to sustain “the intensity of interest for a long piece.” She juggles many unfinished stories, and she cannot work at one thing at time, but she must keep from being overwhelmed. Edie asks about emotional distance, and McCaffery asks about the function of her notebooks, and they discuss emotional versus cerebral writing. "Each thing is written for the joy of writing,” Davis says. McCaffery and Davis discuss the function of language. McCaffery asks if there is a reason she does not use first person, and she says she needs distance. Edie asks if Davis sees herself in a “postmodern” mode, but Davis does not see herself as part of a group. McCaffery asks what authors influenced Davis. She mentions Samuel Beckett for his style, and Kafka for his emotion. They discuss French modern writers, Vladimir Nabokov, and Gertrude Stein. On tape 2 McCaffery asks if her work deals with “women’s issues." McCaffery asks about Davis’s very short fiction, and whether Davis considered making stories longer. This appears to be the interview on which the piece “Deliberately, Terribly Neutral” was based, in Larry McCaffery’s 1996 book Some Other Frequency:Interviews with Innovative American Authors.