{"id":6686,"date":"2010-10-25T11:27:05","date_gmt":"2010-10-25T15:27:05","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=6686"},"modified":"2010-10-25T11:31:23","modified_gmt":"2010-10-25T15:31:23","slug":"nick-flynn-and-the-ticking-is-the-bomb","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/25\/nick-flynn-and-the-ticking-is-the-bomb\/","title":{"rendered":"Nick Flynn and \u2018The Ticking Is the Bomb\u2019"},"content":{"rendered":"
\"\"

Photograph by Geordie Wood. <\/p><\/div>\n

The Ticking Is the Bomb<\/a>, the second memoir by nonfiction writer and poet Nick Flynn, describes his experiences with fatherhood, writing, and the Abu Ghraib torture victims, some of whom he met personally. It also covers territory explored in his first memoir,<\/em> Another Bullshit Night in Suck City<\/a>: addiction in his own and his family\u2019s lives and the ongoing need for a relationship with the past that doesn\u2019t let it off too easily. I recently asked Nick about his book by e-mail. <\/em><\/p>\n

You\u2019ve mentioned that The Ticking Is the Bomb<\/em> originally started as poems and evolved into memoir. What was that process like?<\/strong><\/p>\n

That book started as a meditation on the Abu Ghraib photographs; the moment I first saw them, they snagged on something in my subconscious landscape, and I spent the next six years following the thread of it. As I reluctantly dug into the unpleasant topic of state-sponsored torture, specifically America\u2019s long role in it, one thing I noticed was how each element\u2014earth, air, fire, and water\u2014were used to torture. People were buried, suffocated, burned, and waterboarded. The first poems were these element poems, which will now be in a book of poems called The Captain Asks for a Show of Hands<\/a><\/em>, coming out in February from Graywolf. The four element poems were the scaffolding of the eventual memoir, which emerged from behind these poems. <\/p>\n

How did The Captain Asks for a Show of Hands<\/em> act as scaffolding for The Ticking Is the Bomb<\/em>?<\/strong> <\/p>\n

The Ticking Is the Bomb<\/em>, I\u2019m not proud to say, started as a polemic screed (\u201ctorture is bad\u201d), and it was only through the poetry that it became complicated, layered, weird. Once I wrote the four element poems, which are hybrid persona poems, the way was open to examine my own darker impulses, which is what made it into a memoir. I was then able to remove the scaffolding of the poems, and the book was there. Fortunately, I still think torture is bad. <\/p>\n

What\u2019s it like having a movie made of Another Bullshit Night in Suck City<\/em>? Are you involved in the adaptation of the book?<\/strong> <\/p>\n

The whole experience with Hollywood has been bizarre\u2014not with the people I\u2019ve worked with directly, who have now become close friends, but with the muckety-mucks, the vice presidents of various studios, I guess, people I\u2019ve never met. Paul Weitz, the director, wrote a really beautiful, poetic, eerie, funny, weird script, and then, over the years, the muckety-mucks each got to stick a fat finger into it, until by the end it was pretty wretched. Now, fortunately, the economy has tanked, and the budget is lower, and we got to go back to the original script, only it\u2019s even better. <\/p>\n

One of the things that I love about the structure of The Ticking Is the Bomb<\/em> is its movement in time; it doesn\u2019t move forward in a linear way from chapter to chapter, but switches back and forth among years and memories. There\u2019s this great connection, for me, with our way of engaging culture now\u2014surfing, clicking links, finding our own structures and connections in the representations of experience. Did you have a deliberate strategy for the structure, or did it evolve more naturally?<\/strong> <\/p>\n

It evolved organically. I\u2019m glad you found it echoed the experience of surfing and clicking\u2014it was likely influenced by the Web, but not consciously. I thought of it more as an image cluster, a constellation of images, circling around a central mystery. I\u2019m not sure if the Web is like this. With the Web you can endlessly spread outward. The book is a more contained universe. <\/p>\n

Going back to the book\u2019s organization, I love how the scenes with the Abu Ghraib victims are juxtaposed with more personal scenes; it doesn\u2019t establish equivalence, but it mixes the intimacies and distances of both in really gripping ways. Is there any one thing that you want readers to take away as far as our connection to the victims is concerned? <\/strong><\/p>\n

With the Abu Ghraib photographs I was never interested in the question of how our soldiers came to torture other human beings, or even in how Dick Cheney came to authorize it. That Dick Cheney is pro-torture surprises no one; he freely admits it. That soldiers do terrible things during wartime should not surprise us. So at some point the book became about the darker impulses we all carry within us, which led me to examine my own darker impulses. The only way to break out of these darker impulses, for me, was to make a human, face-to-face connection with some of the ex-detainees from the photographs. This is always the only way out. <\/p>\n

Any notes from your time with them that weren\u2019t in the book, after your having more time and distance to reflect? <\/strong><\/p>\n

I hope that their humanity came through in the pages, how each had internalized what had happened to them in completely different ways. All of us, we laughed a lot during our time together, when we weren\u2019t hearing about atrocities.<\/p>\n

Do you think that writing a memoir has changed your approach to writing poetry at all, or vice versa?<\/strong> <\/p>\n

Everything we do, I\u2019d imagine, influences everything we will do. That said, I can\u2019t say what poems I would have written if I hadn\u2019t written the two memoirs, but I was writing poetry all along, in the shadows of those books, and I think that I\u2019ve managed to sneak a lot of it into the memoirs. At least I tried.<\/p>\n","protected":false},"excerpt":{"rendered":"

The Ticking Is the Bomb, the second memoir by nonfiction writer and poet Nick Flynn, describes his experiences with fatherhood, writing, and the Abu Ghraib torture victims, some of whom he met personally. It also covers territory explored in his first memoir, Another Bullshit Night in Suck City: addiction in his own and his family\u2019s […]<\/p>\n","protected":false},"author":73,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[907],"tags":[1152,1084,1155,79,995,635,1151,1156,165,1154,1153],"class_list":["post-6686","post","type-post","status-publish","format-standard","hentry","category-at-work","tag-abu-ghraib","tag-adaptation","tag-another-bullshit-night-in-suck-city","tag-film","tag-hollywood","tag-memoir","tag-nick-flynn","tag-paul-weitz","tag-poetry","tag-the-ticking-is-the-bomb","tag-torture"],"acf":[],"yoast_head":"\nNick Flynn and \u2018The Ticking Is the Bomb\u2019 by Chad Parmenter<\/title>\n<meta name=\"description\" content=\"October 25, 2010 \u2013 The Ticking Is the Bomb, the second memoir by nonfiction writer and poet Nick Flynn, describes his 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