2 Oct 2026
Ep.32: STEPHANIE SY QUIA
A Private Man with Stephanie Sy Quia
Stephanie Sy Quia talks to host Elena Lappin about her debut novel, A Private Man, and the personal history that shaped it. The conversation moves between family memory, Catholicism, generational trauma, dementia, and the challenge of writing fiction that feels emotionally precise without becoming extractive.We discuss how she turned a real family lineage into art, why she wrote from the public edges of family history rather than interrogating relatives directly, and how teaching Shakespeare fed back into her novel writing. She also reflects on care work, the aging of the baby boomer generation, and why she writes about the hard-to-categorize parts of life.
Key topics
A Private Man as a novel shaped by family history, Catholicism, and forbidden love
Writing about relatives without being extractive or forcing personal testimony
The emotional and ethical tension of claiming a family story as your own
The Notre Dame fire as an influence on a key scene in the novel
How generational trauma and family memory can belong to more than one person
The contrast between poetry and prose, and how she keeps every sentence purposeful
Margaret and David as characters shaped by community, institution, and sexual restraint
Vatican II, Catholic reform, and the disappointment of unrealized hope
Writing historically specific male sexuality through institutional life, boarding school, and war
Dementia, care, and the intimacy of witnessing the end of a life
How teaching Antony and Cleopatra informed her sense of romantic and emotional dynamics
Why she is drawn to slippery, hard-to-label identities and experiences
Timestamps
(00:00) Family history, generational trauma, and why not to be extractive
(01:15) Introduction to Stephanie Sy Quia and A Private Man
(02:24) Notre Dame fire inspiration and a scene between grandson and grandmother
(06:39) Cathedral restoration, sacred materials, and the idea of stone “singing”
(08:05) Reading from the novel ends and the interview begins
(09:07) Her family background: priest grandfather, theologian grandmother, and exile
(11:27) Writing from public family history instead of interrogating relatives
(13:52) Poetry versus prose and making every word earn its place
(15:21) Margaret and David: community, desire, and different relationships to Catholicism
(18:05) Hope, cynicism, and the failure of Vatican II to deliver change
(20:16) Writing a male character through institutional British masculinity
(22:42) Sex, war, and the high stakes of intimacy in an earlier era
(23:39) Writing her grandmother through memory, truth, and preemptive grief
(25:41) Teaching Antony and Cleopatra and bringing its energy into the novel
(27:05) Food, passion, and why the novel makes the reader feel hungry
(28:25) Aging, caregiving, and the demographic burden on younger generations
(30:54) Why she writes: slippery identities, care, and frankness about decline
Notable quotes
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“I was very keen not to be too extractive about how I gathered family information.”
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“Family history both does and does not belong to you.”
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“I wanted to write about the process of caring for someone at the end of their life.”
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