Macy Grove on The Hunting of the Snark: An Author Interview

For Macy Grove, a poem discovered during vocal practice became a creative obsession—and eventually a graphic novel. The Hunting of the Snark: An Agony in Eight Fits reimagines Lewis Carroll’s whimsical world through a collaborative artistic process, bringing new characters, subplots, and perspectives to the original text.

In this interview with Book Nerdection, Grove talks about finding room for imagination within a classic, building a diverse crew, and the joy of connecting narrative threads. We also discuss the challenges of adaptation and the very different worlds taking shape in upcoming projects.

You can also read our review of The Hunting of the Snark: An Agony in Eight Fits.

But First, who is Macy Grove

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Book Nerdection Interviews Macy Grove:

1. Could you begin by telling us a little about yourself and your journey as a creator?

I never expected “publishing a graphic novel” to be one of the twists on my life’s path, but this poem really embedded itself in my mind and, frankly, became a compulsion. Knowing I was starting from zero and would never be able to accomplish this solo, I began reaching out to artists who were willing to creatively collaborate on the project. I got to work with some amazing people and create something I’m exceptionally proud of. It’s been a double win, really.

2. What first inspired you to create The Hunting of the Snark: An Agony in Eight Fits?

I had started regularly reciting poetry for vocal practice and needed new material. I received a collection of Lewis Carroll poems from my spouse, who knows I love whimsical nonsense, and stumbled across this poem. I fell in love with it on the first read and came back to it again and again. With repetition came imagination. And with imagination came obsession.

3. What attracted you to Lewis Carroll’s original poem?

I had started regularly reciting poetry for vocal practice and needed new material. I received a collection of Lewis Carroll poems from my spouse, who knows I love whimsical nonsense, and stumbled across this poem. I fell in love with it on the first read and came back to it again and again. With repetition came imagination. And with imagination came obsession.

4. How did you approach transforming a classic work into something distinctly your own?

I started with characters, then moved on to creatures, and finally symbols and metaphors. Carroll leaves plenty of space for the reader’s imagination. As an illustrator and adapter, I get the benefit of steering that space, adding some subtext, and taking it to places I find exciting without moving too far away from the brilliance of the source material.

5. Which part of creating the book did you enjoy the most?

Mood boards and tying subplots together to create a narrative that overlays the original story. I joke that all I needed was some red yarn and there would have been a full-blown conspiracy board in my living room.

6. What was the most challenging aspect of bringing this adaptation to life?

A big part of this adaptation was bringing diversity to the crew in a way that added meaning and connection for modern readers. Ensuring that different identities and cultures felt like genuine parts of the characters, rather than something added superficially, was critical to getting this right—and it added a lot of pressure. I’m happy with where we landed, and reviews have been good, but there were a lot of ideas from the artistic team that we left on the cutting-room floor for being a bit too “on the nose.”

7. How did you approach reimagining the characters for a modern audience?

It started with looking at where the characters fit in the story and what sort of “cast member” would really excel in playing that role. For example, as the Butcher’s character and story arc developed, imagining them as non-binary felt like a natural fit rather than something imposed on the role.

Other crew members, like Broker, are barely mentioned. So from there I looked at how they could interact with and enhance other characters’ stories and provide connections—and that’s where it got really fun. Barrister became the sleepy gentle giant. Boots became the incredibly strong and wise elderly woman. And so on and so on.

8. Was there anything you discovered about the original poem—or about your own creativity—while working on this adaptation?

There’s a long and robust history of illustrators working with The Hunting of the Snark, and every take is a little different. I found that my creativity likes to play and dance with the original text while subverting it ever so slightly. Other artists contextualize it through genre transformations; others build completely novel lore around the storylines.

Carroll is quoted as writing, “…whatever good meanings are in the book, I’m very happy to accept as the meaning of the book.” With that dismissive yet gracious line, he created the perfect sandbox for generations of imaginations to play in.

9. What kind of reading experience did you hope to create for audiences who may not be familiar with Lewis Carroll’s poem?

The first time I read the poem, I got chills. The second time, I felt for each of the characters. The third time, it turned into an endless treasure hunt. If my adaptation can create that sort of experience for readers, then I’m fantastically happy.

10. What can readers look forward to from you next?

Jabberwock, set in a medieval frozen world with more creative characters and beasts. Then, in a change of pace, The Rime of the Ancient Mariner set in an intergalactic cyberpunk future.

I’m having way too much fun.