Posts Tagged ‘David Gordon’
October 27, 2014 | by Dwyer Murphy
David Gordon’s fiction doesn’t fall comfortably into one category. Depending on what you’re reading and who you’re talking to, he might be a mystery writer, a postmodernist, a satirist, or a hybrid. His new collection, White Tiger on Snow Mountain, runs an impressive gamut. Its cast is large and varied—there are gunmen, grad students, investigators, vampires, struggling writers, Internet sex trolls, and men named David Gordon. (One of these stories, “Man-Boob Summer,” first appeared in The Paris Review’s Fall 2012 issue.) Gordon’s sentences are crisp and often jarring. His plots unspool in strange, sometimes disturbing ways. There’s little to be gained in trying to situate yourself according to generic conventions; better just to enjoy the disorientation and to trust that you’re in the hands of an earnest storyteller.
I met with Gordon, who has also published two novels, on a Friday afternoon in Brooklyn. School was letting out next door, but Gordon’s booming voice carried over the two-thirty hysteria. We spoke over the course of the afternoon about repurposing genres, literary stardom in Japan (the Japanese translation of his first novel, The Serialist, was a major success), the risks of first-person storytelling, and the publishing-industry controversy swirling around him.
White Tiger on Snow Mountain is your first story collection. Did you approach the stories differently than you would a novel?
In conceptual terms, I do think there’s a difference, at least for me. A story usually comes into my mind like a three-dimensional object—something I can see and feel and rotate. I’m often completely wrong about what the object is, but it’s still there. Whereas a novel is more like a set of directions for a road trip to California, with a planned stop in, say, Colorado and a visit to the Grand Canyon. The truth is I have no idea what’s going to happen along the way or whether I’ll even get there, but I have this general sense of direction and an end I hope to reach.
Now that the stories are completed and assembled, are you surprised at any of the themes or images that crop up?
I wrote these stories over a period of years, so some of the thematic echoes that people point out seem fairly straightforward for somebody who’s been writing for a long time—you deal with certain recurring ideas and problems. But then there are very specific echoes that I wasn’t aware of, and those are really interesting to me. My protagonists eat a lot of Chinese food and go to a lot of cafés. People tend to have cats in my stories, and the women have long fingers. I have no idea where this stuff comes from. I have no lost love with long fingers. I guess these things just leak out of my subconscious. Read More »
January 17, 2014 | by The Paris Review
It’s been almost fifteen years since Akhil Sharma published his first novel, An Obedient Father. This terrible, improbably funny book—about a single mother forced to share an apartment with the father who raped her as a child—won Sharma a PEN/Hemingway prize, a Whiting Award, and praise from the likes of Jonathan Franzen and Joyce Carol Oates. (I remember because it was the first novel I had the honor of editing.) Now Sharma is back with Family Life, the tale of an Indian American boy coming of age in the shadow of a family disaster. It too is terrible and improbably funny, and is excerpted in this week’s New Yorker. With acid, deceptively artless prose and a faultless ear for dialogue, Sharma strips his characters bare from page one and dares us to love them in their nakedness. I cannot think of a more honest or unsparing novelist in our generation. —Lorin Stein
Michael Hofmann is the only translator whose work I would read no matter what he decided to English—if only I could keep up with him! In the excellent new issue of Asymptote, he tells a story about interviewing Wolfgang Koeppen in 1992, four years before the German novelist’s death. (“With my English reticence and youth, I met Koeppen halfway: in other words, we were both barely out of our shells.”) He also writes of the Joseph Mitchell–like silence that Koeppen fell into after the publication of Death in Rome (1954) and lauds the still-untranslated last book, Youth (1976)—giving us reason to hope he might be at work on an English version. The final remarks on Koeppen’s sentences—continually “sidestepping into freedom,” “scrupulously managed, supple, cadenced, sumptuously lexical, expressive prose”—double as a description of Hofmann’s own writing. —Robyn Creswell
Poetry’s January issue contains a thirty-page feature on Jane Freilicher: her artwork and her close friendships with a number of poets, among them Frank O’Hara, John Ashbery, and James Schuyler. The section is adapted from Tibor de Nagy Gallery’s wonderful exhibition, last summer, “Jane Freilicher: Painter Among Poets” (it’s currently on view at the Poetry Foundation, in Chicago). I remembered having glimpsed the show’s catalogue in Lorin’s office. I liberated it, and I’m not sure I’ll give it back. It’s like having a scrapbook made by the people whose work you most admire, and it shows that they had as good a time in one another’s company as you’d imagined. “Some little gremlins seemed to have popped loose in my idea factory and I think they may have been sent over from Koch’s brassiere factory,” writes Freilicher to O’Hara. And in what may be my favorite letter in the whole book, from Jane to Frank on a poem of his: “it just don’t seem to have that real low-down smelly sexy everyday Olympian quality your admirers depend upon.” —Nicole Rudick Read More »
March 1, 2013 | by Sadie Stein
We also have seven nominees for this year’s Pushcart Prize:
September 7, 2012 | by The Paris Review
We all hate to see summer end, but don’t despair: we bring you our Fall issue by way of consolation! And there’s so much to love.
James Fenton on journalism, shrimp farming, interior decoration, gardening, poetry, opera, and more:
What I had got from my teaching experience in the Midwest was a feeling for the enormous pressure on people in the poetry world to conform to an entirely negatively defined notion of poetry. It doesn’t rhyme, it doesn’t have any rhythm one might detect, and it isn’t written for the ear but rather the page. It seemed de-natured. These poets had forgotten the lips and the limbs, the dance, the whole bodily element—that had been banished. The manifesto was a piece of devil-may-care. It was actually anti-Iowa rather than anti-American.
Roberto Calasso on life, film, and publishing—Italian-style:
The publisher after all is considered, especially in Anglo-Saxon countries, a rather eccentric entrepreneur or impresario—a businessman in a very improbable field. But, if he is successful, then he is a good businessman. The author is the successor of the saint, everyone respects the author. So to put the two elements together is highly suspicious in a way, especially in the rather moralistic Protestant countries. In the Latin countries, less so.
Plus! Fiction by Jim Gavin, David Gordon, Ottessa Moshfegh, Peter Orner, and Sam Savage. Poetry by August Kleinzahler, George Seferis, Bernadette Mayer, Jason Zuzga, and Guillaume Apollinaire. A portfolio by Daniel Handler and Maira Kalman, and collages by Jess.