Showing posts with label Barry Hannah. Show all posts
Showing posts with label Barry Hannah. Show all posts

Thursday, September 23, 2010

Alex Taylor: Maddened Ghost—The Late Barry Hannah as Mentor

In the 45th in a series of posts on 2010 short story collections entered for The Story Prize, Alex Taylor, author of The Name of the Nearest River (Sarabande Books), writes about the influence of his teacher, Barry Hannah.




Let me begin by saying we were never friends, though I would have preferred it. I am grateful we were not enemies. Long is the legend of his madness, his unrepentant anger at those either willingly wronging happiness out of life or those who were simply too dull to be anything other than crude motes of the air. It would have been a bitter and raw battle, as a few wives and girlfriends and hapless poets can attest.

So I was neither friend nor enemy to the late Barry Hannah. I was simply his student. So I remain. He continues to guide me into the heat of life, cursing or howling in disgust when I opt for ease and comfort over nail-driven pain and outright agonizing love. You sit in the chair long enough, what you want is a fist in the teeth. What you demand is a blade to the throat. What else is there to keep us in the realm of the riotous prophet? All writers must cultivate vision, must quest through their own desert places for the glowing waters promised us during our time in bondage.

In bondage to what?

The stink of too much money, too little life. The slow waiting. The tedious, thumb-pulling dawdle. Big chains and bad medicine this, and more than a few honest men get the heart felled right out of them by the broad ax of such slavery. You learn freedom comes when the nerves burn white-hot-electric, when your sinuses bleed. You dose up on the drug of it, The Truth, and get giddy from the bald hurt.

He rarely spoke to me. I recall him drawling out "I want to take you fishing," and giving me a hug once. We never tossed hook or line together, a deep personal regret of mine. But you were either in the circle of Hannah’s love or burned in the lake of his hatred, and I somehow drifted into the limbo of his indifference.

It’s nothing terrible. Barry’s ability to lift the heart of the struggling fiction writer was worth every barb, insult, or misguided misreading of a story. I’d leave his classes desiring war. I wanted to run the bomb-cratered dirt, gun for the trenches, and cabob the Hun with my bayonet, leave the world of the sad complacent soaking up the soil at my feet. He spoke as if literature mattered. As if it was of deep and lasting importance. Strange gris-gris this, especially in the digital era of flash, flicker, nothingness. But there was Barry, aged and come back from Hell, snickering and jolly, mad and blunt-tongued, hoisting the flag of The Word above a field of tattered pennants and smoking corpses, rallying the living to the fight, the final push, the big roar.


Thursday, September 2, 2010

Christian TeBordo and the Exploding Story

 In the 37th in a series of posts on 2010 short story collections entered for The Story Prize, poet, novelist and short story writer Christian TeBordo, author of The Awful Possibilities (Featherproof Books), discusses how he works and what he looks for in a story collection, among other topics.




What is your writing process like?
I don't really have a writing process. Usually I write by hand with whatever paper is available, but I'll use a computer if the sentences need to be fast or if I'm on a deadline. Time-wise I write when I get the chance, or I'll make time if I feel like a story's about to explode. Sometimes I think it would be a good thing to get a process, but I just can't see myself as the write everyday type. First because (and I know this isn't true for everyone, just me) I think there's an inverse relationship between quantity and quality; second because I don't think the world needs every idea I have, only the best of them. Of course, I can barely go five minutes without thinking about writing.

What do you think a good short story collection should deliver?
I like collections where the stories seem like they're at war with one another. Maybe there's an alliance between any group of two or three, but generally I like having no idea what I'm in for when I finish one story and start the next. That way the individual pieces can play off each other dialectically, make a synthesis that adds up to an authorial (as opposed to a generic, or literary) sensibility, and hopefully paint a truthful picture of the world as it is or could be. That sounds a little idealistic, but I find a handful of books that do it each year.

What book made you want to become a writer?
I'm probably like many males of my generation in that discovering Vonnegut in high school really opened up the possibilities of fiction for me. But as for short fiction, it was Barry Hannah's Bats Out of Hell, specifically "The Vision of Esther by Clem," that really turned me on to the form. With that story, he seemed to take all of the psychology of the best nineteenth century novels and cram it into twenty or thirty pages of ecstatic prose. I know that Airships (which I also love) is technically the top candidate for classic status, but Bats Out of Hell gets my vote.

Have you ever written a short story in one sitting and not revised it later?
Am I going to get kicked out of literature if I answer yes? Well, no, if by "not revised" you mean not even proofread and tweaked some. If you mean "have you ever gotten a story right the first time," then yes. Some stories need slaving over, others just come on out. Neither will ever be perfect, but perfect's not exactly what I'm aiming for, and anyway, I doubt anyone who didn't know me well would be able to guess which ones were easy and which weren't. I have a gift for making it look difficult.