September 16, 2014 | by Thessaly La Force
In Merritt Tierce’s debut novel, Love Me Back, life does not go as planned. A Texas high school student named Marie becomes pregnant on a missionary trip when she’s only sixteen. The event completely changes Marie’s life. Raising a child means not going to college, marrying a boy she’s only just met, and cutting short her own adolescence. Tierce writes poignantly of the pain and loneliness in Marie’s new life—as a waitress at a restaurant where the only thing that feels permanent is what her life has become. She tests her boundaries and her limits, numbing herself from reality with sex, drugs, and pain. And while it’s a hard life on the page, Love Me Back is also filled with the kindness and humor that people offer one another when they know there’s no one else. Tierce is a graduate of the Iowa Writers’ Workshop, where she was a Meta Rosenberg Fellow; she is also a recipient of the Rona Jaffe Foundation Writers’ Award.
You write of Marie’s pregnancy, “I don’t hear my whole life being written for me inside my body, cell by cell.” Marie had been accepted into Yale, but the baby completely upends her plans and distances her from her family. One of the earliest scenes in the novel is Marie’s interview at the Olive Garden—it signals the beginning of her life as a young mother in the service industry. What drew you to start at this point?
I wrote the book backward, chronologically—so I actually started at the latest point in Marie’s life. I knew what she felt and thought in the stories in the second half of the book more clearly than I knew younger Marie. I had to write back through her states of mind, back toward childhood. She was still a child when she became pregnant and I had to approach that fog carefully. Marie is unknown to herself at the beginning of the book, and I couldn’t start there. It felt like the gameplay in something like World of Warcraft, where you can only see as much of the map as you’ve explored. The rest is dark. While Marie was living it, she had to emerge from the dark and settle her territory—but while I was writing it I could only write out to the edge of black. I respected that. I let her be what she was—aware, but ignorant. New. And I can’t make any categorical statements about sixteen-year-old mothers, but my hope for my own daughter is that she lets herself find and grow and use her power for herself before she lets anyone else lay claim to it. Read More »
September 11, 2014 | by Sharon Mesmer
Writing a short introduction about Lynne Tillman isn’t easy; her singular and visionary writing covers a great deal of territory. The author of twelve books, she is adept at fiction, short and long essays, cultural critique, and interviews. A sampling of just three of her books conveys the scope of her work: her novel American Genius: A Comedy follows the obsessive inner monologue of a single character for almost three hundred pages; This Is Not It is a compendium of twenty years of witty and risky novellas and short stories, some as short as a paragraph; and Bookstore: The Life and Times of Jeannette Watson and Books & Co. weaves together the voices of Susan Sontag, Fran Lebowitz, Paul Auster, Calvin Trillin, and many others to tell not just the story of the rise and fall of the iconic, well-loved Books & Co. but that of the changing landscape of publishing.
Her new book, What Would Lynne Tillman Do?, is a collection of recent essays—on Andy Warhol’s a: A Novel, on the lives and work of Paul and Jane Bowles, and on Edith Wharton and architecture, to name just a few—and interviews with Harry Mathews, Paula Fox, Lebanese-American writer and visual artist Etel Adnan, and German painter Peter Dreher. Each piece, whether essay or interview, is illuminated by Tillman’s wit, intellect, and curiosity. When the book was released earlier this year, Jason Diamond of Flavorwire declared 2014 to be “the year of Lynne Tillman.”
I spoke with Lynne Tillman at the New School, as part of the university’s Summer Writers Colony. Fiction and nonfiction students had spent three days reading What Would Lynne Tillman Do? and the questions I posed reflected their curiosity, as well as my own, regarding the processes and practices that allow her to transition easily between genres. Tillman was eager to answer, and the qualities that characterize her writing shone through in her answers.
In your 2009 essay, “Doing Laps Without a Pool,” you write, “I don’t want to take a position. Not taking a position is a position that acknowledges the inability to know with absolute surety, that says: Writing is like life, there are many ways of doing it, survival depends on flexibility. Anything can be on the page. What isn’t there now?” All those interesting negatives—“not taking a position,” “the inability to know,” “what isn’t there now”—reminded me of Keats’s famous letter in which he used the term negative capability. When you begin to build an essay, do you feel as if you’re exploring what you don’t know, precisely because you don’t know? Or do you begin with a firm idea or a mystery that you want to explore more deeply?
I begin nonfiction essays in a similar way to fiction. I have some questions in my mind, things that I’m interested in writing about, and in fiction I find a voice through which to do that. On the other hand, in an essay, I assay some of what I think I know, and then, as I go along, I realize that I don’t know what I thought I knew. Read More »
September 9, 2014 | by David Michael
In San Francisco earlier this spring, I’d hoped to meet the essayist Richard Rodriguez, the author of The Hunger of Memory: The Education of Richard Rodriguez, Days of Obligation: An Argument with My Mexican Father, Brown: The Last Discovery of America, and, most recently, Darling: A Spiritual Autobiography, which has just been published in paperback. Though he’s largely associated with his early stances against affirmative action and bilingual education, not to mention his regular appearances on the PBS NewsHour, Rodriguez, who turned seventy in July, has had a wide-ranging career, and I wanted to discuss the shift of his work from cultural identity to religion. But our schedules were tricky to coordinate, and then I lost my wallet. “Pray to St. Anthony!” Rodriguez immediately wrote. (The wallet was recovered by one of the famous bellmen at Sir Francis Drake Hotel. “St. Anthony dressed as a beefeater,” as Rodriguez put it.) Instead, we corresponded for several weeks.
I was excited and surprised by Darling: A Spiritual Autobiography. I had seen you referred to as a Mexican-American writer, a Californian writer, and a gay writer, but never, until recently, as a religious writer. Have you always considered yourself a religious writer?
Of course, I haven’t, until lately, considered myself a “writer”—in the grand sense. For most of my writing life, I have stood truly, if uneasily, on American bookstore shelves as a sociological sample—shelved “Latino” between a gangbanger’s book of poetry and the biography of a Colombian drug lord. Only in recent years, as it has become clear to me that so few people I know read books, have I been struck by the fact that I am a writer.
My sense of being religious is older. From boyhood, particularly my lower-middle-class childhood in Sacramento, I was transported by religion into the realm of mystery. Consider this: The Irish nun excused me from arithmetic class so that I could serve as an altar boy at a funeral mass. Along with the priest and the other altar boy, I would welcome Death at the doors of the church. We escorted Death up the main aisle. I later went with the cortege to the cemetery. There was a fresh pile of soil piled high at the edge of the grave site, discreetly, if unsuccessfully, covered by an AstroTurf rug that was as unconvincing a denial of the hardness of time as a cheap toupee. I wondered at the mourners’ faces—the melting grief, the hard stoicism. Thirty minutes from the grave, I was back within the soft green walls of Sacred Heart Parish School. It was almost lunchtime. I resumed my impersonation of an American kid. Read More »
September 2, 2014 | by Stephen Burt
Matthea Harvey’s whimsy almost defies the scope of the English language. She seems to sculpt out of molten glass the topics and the treatments in her poems, optimistic fairy tales for a universe where everything’s deformed, or maybe deformed fairies in a universe where everything’s optimistic. It’s easy to feel almost at home among her poems, which are sometimes uncanny in the way that scary truths are uncanny, sometimes uncanny like the Uncanny X-Men, and sometimes uncanny in that their delightful artifice should, but can’t, be preserved and canned.
Harvey teaches at Sarah Lawrence College and lives in Brooklyn; she grew up in England and Wisconsin. You may have read her beautifully titled first volume, Pity the Bathtub Its Forced Embrace of the Human Form (2000); or Modern Life (2007), where alliterative, associative, alphabetical poems jostle against prose parables that science-fiction readers would call “slipstream”; or Of Lamb (2011), Harvey’s collaboration with the visual artist Amy Jean Porter, in which an erased biography of Charles and Mary Lamb sends Mary and Her Lamb through—a lost garden? A forest of previous children’s books? A dreamland? Or you might have seen one of her other collaborations—with composers, with animators—or one of her own photographs. Still, you won’t be ready for If The Tabloids Are True Then What Are You?, her new collection of poems and fables, in verse and prose, about mermaids, ice cubes, erasures, talking animals, and early telephones, with a set of images—including photographs of Harvey’s sculptures—inseparable from them. As NPR put it earlier this year, “Harvey is a genius of the unusual, and of the dark underbelly of the adorable.”
Some of the poems have obvious sources in fables—“No-Hands has hands,” or “the animals did begin to glow.” Is there a particular fable or fairy-tale compilation that served as your best source? Aesop, the Grimms, La Fontaine, Kafka, Andrew Lang?
I wrote both of those poems without knowing that there were fables about either one. Myths and fairy tales are mysterious that way—we’re all shoots sprouting from one underground narrative fungus. Still, I know that stories by the Brothers Grimm, Hans Christian Andersen, and Heinrich Hoffmann’s Der Struwwelpeter are all tumbling around in the pebble polisher of my unconscious. I’m currently reading Phillip Pullman’s Fairy Tales from the Brothers Grimm, in which I found a new favorite, “The Mouse, the Bird and the Sausage.” This insanity happens in it: “The sausage stayed by the pot most of the time, keeping an eye on the vegetables, and from time to time he’d slither through the water to give it a bit of flavoring. If it needed seasoning, he’d swim more slowly.” Imagine flavoring a soup with yourself!
This collection is full of mermaids. Why mermaids?
Primarily because the phrase “straightforward mermaid” appeared in my head and wouldn’t leave me alone. But why mermaids in general? Because they’re sex objects who can’t have sex. Because there’s a whole school of gender issues swimming around them. Because we live among so many unspoken boundaries that sometimes it’s a relief to have such an explicit one. Because we all know the feeling of being divided and not belonging. Because we don’t acknowledge our animal selves enough. Read More »
August 7, 2014 | by Norman Rush and Marco Roth
Last month, Brooklyn’s powerHouse Books hosted Norman Rush, Marco Roth, and Christina Nichol to discuss Nichol’s debut novel, Waiting for the Electricity. Set in a post-Soviet Georgia, rife with power shortages, the book stars Slims Achmed Makashvili, a maritime lawyer navigating the perplexing, often hilarious vagaries of life in a corrupt republic. Slims yearns to visit America—he writes letters to Hillary Clinton and applies to a business program she sponsors—where he hopes to discover a land of stupefying efficiency. But when at last he arrives in the U.S., the vision of progress is not what he’d hoped.
Nichol has taught English in India, South Korea, Kyrgyzstan, Kazakhstan, Kosovo, and, of course, Georgia; her experiences abroad inform much of Waiting for the Electricity’s observant wit. With Rush and Roth, she discussed the direction of the comic novel, fiction’s bearing on foreign policy, and a State Department official with a ukulele.
Christina, how did you end up in Georgia? How did you join the great English-teaching enterprise that is this new American century?
As a kid I went to the Soviet Union with my grandfather, who braved a hundred Americans and a hundred Russians on a boat down the Volga River. This was during the eighties, and I sort of fell in love with Russia—I continued to go back to witness the transformation of communism into capitalism, which I saw as an amazing and tragic story of the twentieth century. I’d been to Kyrgyzstan, too, and as an adult I was trying to get back. I applied through this foundation, and they said, Well, we have Armenia, Azerbaijan, and Georgia available. I’d once seen some Georgian folk dancers, and they were really amazing, so I decided on Georgia, knowing nothing about it.
And Norman, you spent some time in the Peace Corps.
Not technically. [Elsa and I] were co-country directors in the Peace Corps in Botswana from ’78 to ’83. But the formative effect of being outside the country for a long period of time is certainly the same—having that be a catalyst to a kind of uncheckable literary impulse, looking at a different part of the great evolution that’s taken place. But Christina, you said something intriguing—that you thought the conversion or the evolution of communism to capitalism was a great tragedy. That’s certainly not the State Department opinion. Are you a Bolshevik?
I suppose I’m thinking of how it was done to hold up America as an example. In communist nations, they’d heard all these terrible things about how capitalism works—someone gets money and then doesn’t provide the service he’s been paid for—and they’d say, Well, that’s the free market economy for you! Then, under capitalism, they began to live the kind of ideology of the propaganda they’d been brought up with. It was actually an even worse form of capitalism than ours.
Yours is a glorious comic narrative, and there’s something slightly odd in talking about it in the midst of terrible political tragedy, the murder and carnage taking place around the world—a kind of carnage in which, as humans and as Americans, we’re all to some degree implicated. But it isn’t strange, actually, when you think about it. Comic narrative, especially high comic, in textual form, is very important for two reasons. One, it relaxes us and returns us. It disengages us from the essential tragedy, the base tragedy, and the unnecessary tragedy that we encounter as human beings. And it teaches a kind of distance. It has a way of recharging, of remaking our willingness to be open, to have strength in the world, and to work within it. This novel is a remarkable entry into the world of comic fiction. If you look at the history of what’s considered funny in terms of narrative fiction, it’s been pretty much a male reserve. Examining, say, English Anglophone writers—novelists, not short-story writers or nonfiction writers—there’s Stella Gibbons’s Cold Comfort Farm, but suddenly now there’s Lydia Davis, Rivka Galchen, and an explosion of the comic subject. Read More »
July 29, 2014 | by Christopher Higgs
Dodie Bellamy writes genre-bending works that focus on sexuality, politics, and narrative experimentation, challenging the distinctions between fiction, essay, and poetry. Her methods include radical feminist revisions of canonical works, as in Cunt-Ups (2002) and its follow-up Cunt Norton (2013), which appropriate the “cut-up” technique made famous by William Burroughs; and The Letters of Mina Harker (2004), an epistolary collaboration with the late Sam D’Allesandro, which reimagines Bram Stoker’s Dracula in an AIDS-plagued San Francisco. In her 2004 book Pink Steam, Bellamy explains, “I’m working toward a writing that subverts sexual bragging, a writing that champions the vulnerable, the fractured, the disenfranchised, the sexually fucked-up.”
As an active member of San Francisco’s avant-garde literary scene for the past thirty years, Bellamy is often associated with the New Narrative movement. Before moving to San Francisco in the late seventies, she grew up in the Calumet region of Indiana, studied at Indiana University, and joined a New Age cult. That experience informs her newest book, The TV Sutras, which Norman Fisher has described as “part porno, part memoir (maybe), part spiritual teaching (probably not), [and] part fiction.” Bellamy says she spent five months “receiving transmissions” from her television set, writing brief commentaries on each, which serve as the material for Part One. For example, from #5—“Do you want me to come back to your place? Man and woman in bar. Commentary: Focus on getting back to the basics/beginning anew. Establish a home base you can return to.”
Part Two, “Cultured,” switches into a more familiar form of narrative, but nevertheless refuses to explain itself. At times it seems as though it contextualizes and complicates the sutras in Part One, while at other times the connection seems hidden. In a recent correspondence with Bellamy, we discussed TV Sutras and her history with the New Narrative movement.
You refer to The TV Sutras as a conceptual piece. I’m curious about the ways you see it participating in the current trend of conceptual poetics, or conceptualism in general.
While my writing shares enough concerns with conceptual poetics to be published by Les Figues—poems from Cunt Ups are included in their I’ll Drown My Book anthology, followed by the book length Cunt Norton—The TV Sutras, like the current trend of conceptual poetry, connects with older roots in twentieth-century Conceptual art practices, procedural practices that have been employed since before the surrealists. Procedural strategies have been in vogue ever since I came to poetry in San Francisco in the late seventies—erasure poems, cut-ups, et cetera. I remember very early on going to a reading by Carla Harryman during which she said she “generated” a text, and I was shocked at her use of the word “generated” instead of “wrote.” For me, this was one of those “Dorothy’s no longer in Kansas” moments. Kathy Acker’s use of appropriation has been a touchstone, as well as her conflation of reading and writing. I “generated” the first handful of TV sutras for the Occult issue of 2nd Avenue Poetry, which focused on the intersections between poetry and divinatory practices, particularly rituals that introduce chance. In receiving my sutras through my television, I was reaching back to an ancient tradition of inspired texts—texts that arrive, bidden or unbidden, from a divine/alien elsewhere. Read More »