European Court upholds French authors right to disappear
With its ruling yesterday, the European Court of Justice has granted authors the right to have their books forgotten. The conflict started with the formation of a French governmental organization called SOFIA (la Société Française des Intérêts des Auteurs de l’écrit), an institutional body tasked with collecting works of literature that were published before January 1st 2001 and are no longer commercially distributed, published, or available online, for reproduction and marketing in a digital format. The suit’s plaintiffs, two unnamed French authors, asserted the ordinance violated the EU’s copyright directive because the collection practice did not provide writers of “forgotten” books with sufficient recourse to control their work.
To avoid an extensive diversion into the practice of European courts of last resort and civil versus common law structures: it worked. Basically, these texts cannot be repurposed without the writers’ consent. Or, as the Court of Justice put it, authors retain the rights to a book’s “resurrection.” (Very Gallic.)
For some, this might seem akin to various other “right to be forgotten” cases in Europe (and Argentina) that have been gaining momentum over the last decade. However, that burgeoning movement is about the proactive efforts of individuals to expunge themselves from privately controlled information databases (i.e. Google). This was more an issue of artistic control and the autonomy of created work within a governmental framework.
While the wider ranging implications of the case will remain unclear for some time, it’s worth remembering that the definition of “forgotten” is a constructed, and fluid, concept, open to institutional definition. Without this ruling, writers’ autonomy would be at the mercy of commercial whim and circumstance, leaving their art vulnerable to cooption and cannibalization. This is not to bemoan the French effort with SOFIA, an endeavor the European Court of Justice deemed of significant “cultural interest.” However, by securing the right for their books to be forgotten, writers are claiming the terms of their works’ remembrance.
So, in sum, if you’re an artist looking to disappear from the face of the earth, you could do worse than France. The courts will back you, anyway.
In succinct and somber prose, Oddný Eir paints the stark landscape of Iceland after the Great Recession in the autobiographical novel, Land of Love and Ruins. As Iceland is reeling after the 2008 financial crash, the narrator traverses the country, looking for artifacts that point to its Viking and Celtic heritage, as well as her own.
Drawing comparisons between the historic pillaging of Iceland by the Vikings with the modern-day Chinese businessmen who are interested in developing countryside, Eir never makes direct connections for readers, instead flitting from modern times to ancient, allowing us to come to our own conclusions and opinions.
The text veers from reading like an eloquent journal to a philosophical debate on the human condition. By discussing history, philosophy, gender relations, archaeology and literature, there is something for everyone interested in examining modernity.
The witty repartee that Eir creates between events, in some ways, takes the place of a straightforward plot. While there are plot points, they act more like signposts than offering momentum.
A conversational tone is further enforced by the book’s form, which is essentially organized as a diary, with each chapter, or entry, titled after an event that holds meaning to the narrator, oftentimes referring to Icelandic folklore or feast days. In the hands of less skilled author, this could be confusing but thanks to Eir’s strong command of language, meaning and import are rarely obfuscated.
As the story progresses, a semblance of plot does develop: the narrator’s struggle to find balance in a love triangle between herself, her brother and her beau. Similar to her quest to discover Iceland’s ancient past in order illuminate the country’s 2008 reality, she examines her life with historic truths, investigating the Romantic poet Williams Wordsworth’s very close relationship with his sister. After traveling through England’s Lake District, the narrator finds a way of balancing an intense familial relationship with her own romantic needs and interests.
In many ways, these two quests — one for Icelandic artifacts, one to balance familial and romantic interests — highlight a tactic Eir employs throughout the novel. While these two plot points seem very different, they both involve a searching for the past and an ability to find truth in the present based on that past. While she is moving physically, darting from Paris to London to Iceland’s hinterlands, the narrator is also moving through vast spaces of time, all in the search for truth and meaning.
This duality reverberates throughout the entire novel. In a way, the technique allows the text to breathe on its own, giving the reader the space to make connections and come to their own conclusions. Given the autobiographical nature of the work, this space is essential and in many ways, makes this a work that in many ways reflects the modern condition: sporadic, intense, empty.
Despite the autobiographical nature of the novel, the narrator remains removed throughout. This fictive distance works well, as we feel invited into Eir’s story, rather than bombarded with it. The only time it feels unwieldy is when Eir shares details about the recent economic crisis and the text begins to sound more journalistic than personal.
As the book progress, it is clear that Eir’s saving grace is her ability to lighten the prose and bring levity to the serious topics. In the midst of discussing important environmental issues, she will ironically point out human’s relationship with nature, saying how it is hard to see nature from the perspective of a “jacked up SUV.”
By lightening the mood and pointing out absurdities of modern life, like tourists buying so-called Icelandic tchotchkes that they will never use, the text moves forward and avoids a polemic tone.
The straightforward tone is also varied with searing descriptions of Iceland, bringing the exotic, rugged landscape to life in such a way that one that the country itself becomes a character in this meandering tale. Drawing on the theme of environmental conservation, Eir weaves in tales of pioneering forbearers, sharing stories of older generations and the harsh realities of life on the stark island. At times, her lyricism about nature borders on magical realism, which mimics the fairy tales that are so often referenced throughout this text. In the same way the tone is emulated by the structure of the work, the natural descriptions mimic the form.
An excellent book for readers interested in seeking out a modern, boundary-pushing work.
Tobias Carroll is having two debuts. His first story collection, Transitory, was released by Civil Coping Mechanisms in August, and his debut novel, Reel, followed soon after, from Rare Bird. The publication of these two very different books places Carroll, who many people know as an outstanding literary citizen and indie press advocate, at the forefront of a new wave of literary fiction authors whose work relentlessly explores new terrain and pushes against the dividing line rumored to exist between literary fiction and genre fiction. Although he has two books to promote, Carroll’s efforts as editor, reviewer, and interviewer are not dwindling. He writes fiction and nonfiction for a plethora of publications. He’s also the managing editor of Vol.1 Brooklyn and his writing has appeared in venues as diverse as Rolling Stone, Tin House, Midnight Breakfast, The Collagist, Bookforum, Joyland, Necessary Fiction, Men’s Journal, and Underwater New York. All things considered, it struck me as the perfect time to sit down and have a digital chat about the way his debut novel came together, the diverging spaces it inhabits, and how he is navigating having two books published almost simultaneously in a saturated literary landscape.
Gabino Iglesias: The publishing business works on its own time, which means you went from having no books out to having a debut novel and a short story collection published simultaneously. How are you navigating the promotional process? Are you doing separate readings or presentations for both?
Tobias Carroll: I think I’ve been navigating it all right. It’s a difficult thing to figure out: I want to make sure I’m getting the word out about the books, but I also don’t want to overwhelm people or feel overly one-note. And having both presses in my corner has also been great: both Civil Coping Mechanisms and Rare Bird have been terrific to work with.
So far, the readings I’ve done have been from one book or the other. I’m going out to the west coast next week, and I think I’m going to read a shorter section from each book at the Seattle and Portland readings. There are a few reading-sized stories in Transitory, and I have a few chapters from Reel that work in various timing configurations.
GI: Reel belongs to the realm of literary fiction, but there are some bizarre elements in there that push parts of the narrative into the territory of mystery/surreal fiction. Where you intentionally trying to walk a line between genre and literary fiction?
TC: It wasn’t intentional at first. I’d tried writing different versions of this story for a long time before this version of it clicked. When I arrived on Timon’s profession, I drew some inspiration from William Gibson’s Pattern Recognition, in terms of having a character who has a borderline-uncanny ability in an otherwise realistic setting. Gibson’s novel was one of three works that I’d say substantially influenced the form that this took; the others would be Javier Marías’s Your Face Tomorrow and, to be very esoteric, a short Warren Ellis/Jim Lee Batman story that was essentially about all of the random and esoteric knowledge that one would have to amass in order to be Batman. (Which I realize also has some roots in the Sherlock Holmes stories, but–can’t really argue with Batman.)
By the end, there were some broader thematic things going on–I kind of view the novel he’s in as a strange joke on Timon. In another, pulpier, book, he might be an eccentric detective who solves mysteries and uses arcane knowledge in unexpected and heroic ways. But in this one, he’s just a guy who knows weird things, drinks too much, and sometimes acts like an asshole.
He’s just a guy who knows weird things, drinks too much, and sometimes acts like an asshole.
GI: In the novel, the two main characters, Timon and Marianne, briefly crash into each other and then continue on with their lives. As a result, the narrative is, more than a collision between two different forces, a story about a couple of individuals who inhabit different spaces after their encounter. Keeping them separated was interesting and unexpected. Why did you decide to tell parallel narratives instead of a single one?
TC: Essentially, that’s how the story went as I was writing it. The process for this novel involved working without an outline, which was a reaction to a failed novel I’d finished beforehand that was far too dependent on a pre-existing structure/outline. As the novel developed, the fact that they were each doing their own thing became more and more clear, and I liked playing with the ways in which their paths almost cross after that initial meeting….but don’t. (There’s a Rick Moody novella called “The Carnival Tradition” that was an influence here.)
One of the reasons the book was called Reel was a nod to the fact that the word “reel” can refer to a dance, and once I was reminded of that, that as a narrative/structural element seemed to make much more sense. And I was also nodding in the direction of the Halo Benders song “Virginia Reel Around the Fountain,” where Doug Marsch and Calvin Johnson each sing a set of lyrics that have no real connection yet wind around one another. But I think that counterpoint is essential–I like the Built to Spill version of it on their live album, but I don’t quite think it works as well, even though it may be, from a technical perspective, the “better” one. I like weird dissonances.
GI: Through Timon, readers get a meta-commentary on art as well as a scathing look at familial relationships forced to operate within the context of a business. However, music is also an ever-present element that is celebrated through language as something that profoundly changes our lives. Did you create these elements to stand on their own or did you intend for them to be in opposition?
TC: Timon’s fondness for music was a hard thing for me to write at times, because it involved someone getting into something that I’m into, but doing it in part for the wrong reasons. Alternately: if I saw someone act like that at a show, I’d want to stay the hell away from them. (About two years ago, I was at a show where someone basically ran through the crowd smashing into people…right up until the point where he ran into someone who clocked him. Which I don’t think anyone in the crowd shed too many tears over.)
For me, the course of Timon’s relationship with music is an element that’s constantly shifting. It might be a way for him to find some kind of peace and some kind of sense of belonging, or it might further alienate him from everyone around him. I think Marianne has a much healthier relationship to art (and the world at large), and that’s definitely intended as a contrast to Timon blundering his way towards some greater awareness…or not.
GI: Your short stories are graceful and poetic, but Reel afforded you much more space and thus your lyricism came to the forefront. You obviously take your time constructing sentences, but there is also the grit of real life and dingy clubs in your prose. How did you achieve this balance?
TC: I knew that I wanted to have these big loping sentences whenever Timon was going into one of his spells of bad behavior in a crowd, to evoke the way that he’d give himself up to alcohol and instinct and lose all restraint. A lot of it was writing what felt right, as far as getting inside of his head–whether it was in a situation like that or in a stiller scene like some of his moments of research. Timon is a character who essentially becomes consumed by certain moments, and I tried to convey that as best I could in prose.
GI: The atmosphere of your novel can be described as one of agitated stagnation, but one that feels more generational than individual. It also takes places in Seattle, which adds a touch of big city chaos. Lastly, you had to describe entire lives and a wide array of different situation for two main characters. What can you tell us about juggling all those elements within the context of a short novel?
TC: The generational theme was (mostly) fun to play around with–coming up with this family who had this bizarre business running that was structured around a host of borderline-ritualistic behaviors. I have a very good relationship with my own family, though I definitely think that there were certain questions bouncing around in my head about certain larger questions of family and tradition that influenced the way that this novel was written, and how it unfolded. And I liked the idea of Seattle as a location, where both Timon and Marianne would be essentially on their own, without many people from their pasts being there. My own roots are very, very northeastern–my mom was born and raised in New Jersey, my dad grew up on Long Island–so I was definitely writing the opposite of what I know. And pretty consciously, at that.
GI: Let’s switch it up. How did you go about selecting the stories that are included in Transitory?
TC: Transitory came together pretty quickly, though the final book also contains stories written over the course of about a decade. Essentially, I saw the announcement of CCM’s Mainline competition. My friend Sean H. Doyle suggested that I submit a short story collection to it. That night, I sat down and looked at all of the stories that I’d had published up until that point. I figured out a group that went pretty well together, worked out an order for them, and pasted everything into a Word document.
As far as the selection process, there aren’t many stories that I’m not happy with–the handful that didn’t go into this one were more for stylistic/thematic reasons than anything else, and if ever get to do another collection, I think they’ll be in there. Basically, I wanted to find a good balance between the more realistic work I’ve done and the more surreal stories. In terms of the sequence, it was like putting together a mixtape–I wanted to maintain a good flow, and I wanted to keep changing things up. I liked the idea of a weirder story going into a more realistic one; I wanted to keep people on their toes.
GI: You are a freelance writer, a book reviewer, an interviewer, and run Vol. 1 Brooklyn, which offers new content daily. When do you write and edit your own work?
TC: It’s gotten trickier than I’d like. In terms of shorter pieces, having a reading or something coming up can help–though now, most of the readings I’ve been doing have been book-centered rather than anything else. A lot depends on deadlines for freelance assignments: right now I’m trying to get a huge amount of freelancing done before doing a few readings out west, and that’s taken up the bulk of my time. I also rearranged my writing space pretty recently, and I’ve found that so far (knock on wood), it’s made me a lot more productive.
GI: I’ve had some recent discussions with writers and editors about “good literary citizens,” and your name comes up every time. Who do you consider a good literary citizen?
TC: That is all kinds of flattering to hear. There are a lot of people who I’d consider to be good literary citizens–you’re definitely one of them. I’d also cite (off the top of my head) Rob Spillman at Tin House, Janice Lee at Entropy, Michele Filgate, Saeed Jones, Constance Ann Fitzgerald, Jeffrey Zuckerman, Mairead Case, Ian MacAllen, Isaac Fitzgerald, Penina Roth, Natalie Eilbert, J. David Osborne, and Jason Diamond–and a whole lot more. Basically, anyone who’s helping to amplify a whole lot of voices in addition to their own, helping raise the level of discussion around issues cultural and sociopolitical, and generally being decent human beings to boot.
GI: Thank you for that. Now let’s talk music. Having authors create a playlist for their books is a very popular thing nowadays, but Reel demands I ask you about the music you’d recommend/the music you were listening to while writing it.
TC: I’d definitely cite a lot of early-00s music from Seattle in terms of putting a playlist together: Sharks Keep Moving, Waxwing, Rocky Votolato, Carissa’s Wierd, Red Stars Theory, and Lois would all come to mind off the top of my head. A lot of Reel was written in coffee shops, so I’d have to say that the bulk of the music that I listened to while writing it was whatever was on in there at the time. I can remember the coffee shops–including two in Eugene, Oregon–really well; the music, less so.
The year’s most coveted literary prizes are handed out in NYC.
The 67th annual National Book Award Ceremony, hosted by Larry Wilmore, are underway in New York City. After a month of speculation and anticipation, we’ll finally have our five winners. Each will take home $10,000, a bronze sculpture, and the coveted NBA sticker for the cover of their books. So, did you correctly predict the results? Find out below.
(Electric Lit is live on the scene, and we’ll be updating you throughout the night. All the finalists are below. The official 2016 winners are in bold.)
Don’t think twice, Sweden. Dylan has “pre-existing commitments.”
In a personal letter to the Nobel Academy, Bob Dylan has reportedly stated that he he will not attend the December award ceremony in Stockholm “due to pre-existing commitments.” The controversial Literature Prize winner won’t be the first prominent writer to skip the event — Doris Lessing, Harold Pinter, and Elfriede Jelinek all did the same. In a move that seems even more in character, Ernest Hemingway, who also failed to appear, prepared a speech that he requested the American ambassador to Sweden read on his behalf. Whether this means current ambassador, and former investment banker, Azita Raji will be performing “Blowin’ in the Wind” remains unclear.
While Dylan did say he was “very honored indeed” by the Academy’s decision, he has provided no indication if or when he will deliver his Nobel Lecture, which, by stipulation, is required to be given within six months of December 10th. In unrelated news, somewhere in America, Philip Roth continues weeping, alone.
Oxford Dictionaries announce the U.S. and UK Winner
In perhaps the least post-truth moment of a very post-truth week, the Oxford English Dictionaries have selected ‘post-truth’ as the international word of the year. The OED defines post-truth as: “relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief,” so, since the award strives to “reflect the passing year in language,” the accuracy of the choice will be rather difficult to figure out.
The adjective compound can also be pithily illustrated by this one minute video of Newt Gingrich explaining why facts are bad:
Although post-truth, with its current definition, has been in the vernacular since 1992 (the first recorded appearance is credited to Serbian/American playwright Steve Tesich who used it to describe the Iran-Contra affair), the term’s use has increased approximately 2,000% since 2015. Staff at the Oxford Dictionaries unsurprisingly credit attempts to describe the rhetorics of Brexit proponents and the Donald Trump’s campaign for the popularity.
Populist politics, particularly of the American variety, also showed up quite a bit on the contenders’ list, with “woke,” “latinx,” and “alt-right,” all appearing. And, since the amassing of identity driven political terminology reflects an urge for linguistic determinism amongst fractured political factions facing systemic (woke; latinx) or imagined (alt-right) disenfranchisement, we can expect more new political terminology to attain prominence during the Trump Presidency.
“Normalization” has abounded as post-election buzzword of sorts. And, with the appointment of Steve Bannon, references to White-Nationalism, Storm-Front, and other racist hyphenates that should not be normalized have also been cropping up a lot.
On a lighter note, while post-truth may not bode well for the relevancy of capital-T “Truth” as a concept, it does posit that there is a real truth out there and it can be expressed by language. That makes the decision a far less post-modern choice than last year’s OED pick: Crying-Face Emoji.
I remember the Ullman boys: the six-man army, bristling with sticks, that colonized our narrow strip of Craydon Street. Every afternoon from half past three ’til dark, they filled the air with shouts of C-A-R, game on, and pass the puck, burly brothers who ranged in age from nine to seventeen but shared one face — flattened nose and eyes sunk back in their sockets. They were pug-ugly, built for hockey, grunting and hurling each other against the goals. They made the rest of us their audience.
One afternoon in September the rest of us was me and a kid named Trevor Hendricks. He sat on the grass in front of his house, skinny arms around his knees. We were in the same grade at school, along with ten other kids, and although I’d only been in town a month, I knew his name and face. From the worn green picnic bench outside the Elverton Mail Bag General Store, washing down my Sour Patch Kids with Coke, I watched Trevor watch the street. I sized him up. He looked lonely, or at least alone, and I thought: Here is someone you could convince to be your friend.
I went over to him. “You gonna watch this game all day?” I asked.
“I don’t know.” Trevor shrugged. “Maybe.”
“Hey, fags,” the Ullman boys yelled. “Get a room.”
His shoulder blades shifted beneath his shirt, shaking off the insult.
“We could go to my house,” he said. “If you want.”
Nobody in Elverton had ever invited me over before. I hadn’t invited anyone to my house either; my father didn’t like visitors.
I followed Trevor quickly across the lawn, not wanting to give him time to change his mind, while the Ullman boys made kissing sounds behind us.
Trevor’s mother sat on a torn couch in their living room, flipping through National Geographic and smoking furiously. She was a short and stubby woman. A housedress hid her hips. Clusters of teacups and dirty ashtrays covered the coffee table, and in the far corner, on top of a scarred upright piano, two stuffed muskrats stood frozen in midfight, fur spangled with ash.
“Nice to see a new face,” she said.
“Let’s go downstairs,” Trevor said, tugging my arm. “Let’s build something.”
The basement floor was smooth concrete. Two small windows on the far side let in just enough light to see the metal shelves lining the walls, filled with screws and bolts. Trevor brought out a wooden crate of plastic building blocks, and we worked without speaking, fitting squares.
Trevor had long, nimble fingers. He could make a lifelike roof out of slanted blocks, a credible window. All I could build was a one-story shack, but Trevor made something like a church: peaked gables and a high-tipped steeple.
“That’s good,” I said.
“It’s okay. Wanna see something?” He pulled a model out from beneath the shelves.
On a large green square of pegged plastic, large as a foldout road map, buildings stood in two clean lines, an invisible street between them. Two structures broke the symmetry: a broad white box with three tall doors and a long red building, crowned by a cracker-flat roof.
“Whaddaya think?”
It looked like the view from a low-flying plane: square and lonely.
“We’re here.” Trevor pointed at a smaller house with more detail than the others. Through its front windows I could see a living room, and beyond that a smaller room with a half wall: a dining room and kitchenette. The walls were uniform gray. Only by looking hard could I see the tiny seams between the plastic blocks.
“What do you mean, here?”
“We’re here,” Trevor repeated, touching the roof.
Then I saw. The tiny house was Trevor’s. The model was Craydon Street. The broad white building with three doors was the Elverton Volunteer Fire Department, and the little red building was our school, Elverton Elementary and Junior High, population ninety-six, stinking of milk and chalk.
“You can touch it, if you want.”
I started at school and walked my fingers down the empty road, ticking off houses: one, two, three. I got to eleven, and there it was on the right: my house in miniature, white walls, two thin columns supporting a porch, a wide yard on the north side my mother filled with flowers.
Trevor’s mother called, voice thick with tar. “Trevor! Come help me with dinner.”
“Come back tomorrow,” Trevor said.
“Have you shown this to anybody else?”
“No.” He put the model back.
By the time I left, the late September sun was almost gone. The Ullman boys were packing up their goals, pulling PVC pipes from their hinges. The oldest one waved his stick at me. It looked tiny inside his thick hand.
“What’d you two do together?” he yelled. “Suck each other’s dicks?”
I looked left and right down Craydon Street, the houses laid out just like Trevor’s model. That was when I realized Trevor wasn’t watching the Ullman boys at all. He was measuring the buildings.
The next day I stood by the rusted geodesic dome — which teachers warned us never to climb, for fear of tetanus — and watched kids kick Trevor around the playground. They choked his head inside their armpits and stripped his shoes off. I wanted to help him, but there was nothing I could do, small and solitary myself. I felt sorry for Trevor but envious too. Nobody touched me like that.
We walked home together afterward. Soybean chaff flickered in the fields. Bulbous squash grew wild in kitchen gardens.
“Nobody talks to me,” I said.
“You’re lucky,” Trevor said.
That afternoon we spanned the town — Craydon, Bacon’s Run, Market, and Ridgeway — measuring houses. Trevor ran his hands over the walls and window frames, fingers learning the shapes, while I stood by the edge of the road and took photographs with a camera my mother had bought to encourage my interests.
“We’re historians,” Trevor said. “They’ll want to know what this town was like in a hundred years.”
“We could give our model to the Historical Society,” I suggested.
I liked the Historical Society, a low brick building with a red door that was once a bank. The old women who volunteered gave me candy, and I liked running my fingers over the old maps of Elverton, as if history were my personal possession.
“I don’t like those people,” Trevor said.
Trevor didn’t like anybody, definitely not Mrs. Waddell, who ran the counter at the Mail Bag. She didn’t let him go inside the store alone, and when he came in with me, she still wouldn’t let him use the bathroom.
Maybe what we had wasn’t quite a friendship — it was just two boys taking measurements. I didn’t have much to compare it to. My family followed my father from job to job, one nuclear plant after another: Calvert Cliffs, Peach Bottom, Indian Point. Not that we lived in any of these places — my father never used that verb. He was supervising at Peach Bottom; he was an adviser at Indian Point.
These kinds of linguistic distinctions were important to my father. He only recommended termination; he never actually fired anyone. He was not responsible. After the fat was trimmed and the streamlined plant passed inspection, he would be off again, faithful family following behind.
Only Elverton felt less temporary to me now, after months in Trevor’s company. I knew the houses: paint peeling like birch bark in the sun, gabled roofs and gutters. I had pictures as proof. I put them in an envelope labeled Evidence and tucked them on his basement shelf beside our little city.
We finished the main square in November. A cold rain fell as Trevor made his final calculations. I stood at the corner of Market and Ridgeway and aimed my camera at our last house, an ugly two-story with vinyl siding and pale green sills. Just before I released the shutter, Trevor turned from his measurements, looked straight at the lens, smiled, and gave me a thumbs-up — a goblin with peaked ears and dry, yellow skin. There was no one home in the house behind him, but still I worried. How weird would we look to the people who lived inside?
The rain fell heavy as we walked back to Craydon. Even the Ullman boys had taken momentary shelter. Their silent goalposts dripped.
“What are we gonna do now?” I asked.
“More houses, I guess,” Trevor said, but he seemed shifty about it, and I worried — not for the first time — that his future plans didn’t include me and that for the rest of my time in Elverton I’d be left friendless, listening to my twin brothers argue over toys while my father paced the living room, rehearsing speeches.
“Can I come over for a bit?” Trevor asked.
This was a shock. Normally, I would have said no — my parents had specific rules about visitors — but the friendly gesture overwhelmed my defenses.
“Sure,” I said. “Of course.”
When we came through the door, my mother was at the kitchen table, paying bills. “Who’s this?” she asked, harried.
The twins were at the table too, working on a jigsaw puzzle, but as soon as they saw Trevor, they lost interest and trained their eyes on the outsider. Hard to remember how small they were in those days, thin little children.
“This is Trevor,” I said. “We’ll just play Sega. We won’t bother anybody.”
“All right,” my mother said, squinting. “But stay on the porch.”
Our screened-in porch was empty, except for the former tenants’ patio furniture and a blurry television with the Genesis attached. Trevor and I took turns playing Sonic. There was only one controller; my mother disliked competition. Trevor was no good. The buttons stuck beneath his clumsy thumbs.
“We can play something different,” I said. “If you want.”
“Where’s your bathroom?” Trevor asked.
“Past the kitchen,” I said, and turned back to the screen.
I was so busy maneuvering through a world of flashing lights that I didn’t realize how long he’d been gone. I was about to face the boss of Pinball Palace when my mother appeared, holding Trevor by the shoulder. Her face was red. “Next time tell your friend the right way to the bathroom.”
“I did tell him,” I said, focused on the screen.
“I don’t like people sneaking around my bedroom!”
I paused the game. What was Trevor doing in my parents’ bedroom, all the way on the second floor?
“I’ve got my hands full with dinner,” my mother said. “Tell your friend it’s time to go home.” She walked away, letting the door slam.
Trevor was shaking, but his lips curled up into a guilty smile beneath his beaked nose. His eyes looked tiny. I remembered how Mrs. Waddell watched him when he walked into the Mail Bag and didn’t let him use the bathroom.
“You better go.”
Trevor slipped out the porch door and onto the rainy street, leaving me alone.
I stared at the frozen television. Pinball Palace seemed meaningless. My first Elverton friend, and I’d picked a weirdo, someone even my mother knew was defective. Maybe my parents were right, and I should be suspicious of outsiders.
After a while my mother came back. “Sorry for being short. That boy has a history.”
“A history?”
“Some women were talking at the Mail Bag,” she said. “A teacher found him in the girls’ bathroom at your school, hiding in the stalls. Not just once — several times.”
I imagined Trevor in the girls’ bathroom, arms crossed, sizing up its dimensions. What did this say about our project? After dark, when I was safe in bed, did Trevor sneak from house to house, opening windows?
“I know things are hard,” my mother said. “This is your dad’s tough year. He’ll get a long-term position soon. Buckle down, buddy!” She mock-punched me in the arm. “We’ll get through it.”
That was my mother: the kind voice and the firm hand, good cop and bad. My father worked long hours, and when he was home, he spent most of his time in the office upstairs. Even before the trouble started, my mother was the only parent I had. At the end of that night’s dinner, as we cleaned the last carrots from our plates, my father rolled up his sleeves and cleared his throat. He looked tense, as he often did those days — wiry, electric with nerves. The dark circles under his eyes gave his words extra gravity.
The three of us had it pretty good, he began. We were allowed to do the usual things kids did: soccer leagues, summer camps, spelling bees. We had all the opportunities. There was no reason for us to be unhappy — didn’t we agree? He only asked one thing, that we keep our socializing out of the house. He had nothing against kids — in fact he liked some of them very much — but let one in and more would follow. Not just kids but their parents too, plant employees, wanting to talk and socialize and ask questions, and even if their parents weren’t plant employees, then their uncles were, their aunts or their cousins, all of them with questions, all of them curious, and once you started talking, answering questions, they’d never stop asking, and how was he expected to do his job with people always asking him questions, as if he had answers, as if he could help them?
While he talked, our mother stroked his knuckles, trying to keep his hands still.
I grew six inches that year. I proved my toughness on the kickball field, wrestling the rubber sphere out of the air and pegging the speeding runner’s head. I won a grueling forty-foot race across the double monkey bars, linking my legs around another boy’s hips and hurling him to the sand. When a tall kid told me his father said my father was a fag, I shoved his face into an anthill until he screamed.
One afternoon in April, a scuffle broke out by the geodesic dome. Boys crowded around in a tight ring, yelling, fight, fight, fight. I shoved into the circle. I was no shy kid anymore. People gave me room.
Trevor was lying in the middle, holding his stomach. The kid who’d been beating him was already turning away.
I took over. I put my foot on Trevor’s neck.
“Long time no see,” he wheezed.
Although I saw Trevor every day, I always looked past him. I didn’t want people to remember we’d been friends.
The other kids chuckled. “Shut up,” I told them. “Get out of here.”
The teacher blew his whistle, and the crowd trickled away. Recess was over, but still I kept my foot on Trevor’s throat, like he was a snake I couldn’t risk letting go.
“You still sneaking around town?” I asked. “Looking in people’s windows?”
Trevor smirked but didn’t say anything.
“How’s that model we built?”
“You didn’t build anything,” Trevor said, twisting up his mouth. “You’re not a builder.”
I took my foot off his neck and kicked him once in the ribs. The teacher didn’t intervene. Nobody ever intervened when Trevor was involved.
“Get out of here,” I said. I watched Trevor’s back as he slunk away.
What did Trevor know about being a builder? I was building my own city now — a city of experience. Trevor wasn’t invited to Alex Edward’s fourteenth birthday party that May, but I was. As soon as I got in the front door, my hands ran over the banisters, measuring. The inside was clean and fresh, plush carpet and goldenrod walls. Trevor may have run his hands across those windowsills when the family wasn’t looking, but he’d never been invited inside.
After the boys ate cake, we tramped out to the backyard to play touch. Their lawn was as immaculate as their carpets, brushed clean of sticks and leaves. A sudden snap, and Stephen Ambrose, backup quarterback, flung the football at the back of my head. Maybe it was a mistake, but I didn’t care. I turned and charged, hurling my body into his and pummeling away. It took six of them to pull me off.
While Alex’s mother called my house with news of the fight, I sat on a solitary chair in that golden living room and listened to the adults whisper about my violent ways. I knew they’d never let me come back.
When I came home, I found my father had already called a meeting to discuss what I’d done. He had my mother and the twins around the kitchen table, their faces full of concern, but not for me. They were watching him as he paced erratically around the room, occasionally bumping against the handle of the refrigerator and the hard corners of the countertops, as if he couldn’t be troubled by the details of the physical world.
He didn’t blame me for what I’d done. If anything, he blamed himself — for introducing us to this sort of environment, in which survival of the fittest was the law of the land, in which brute force was the only language anyone understood. Didn’t we see, then, how crucial it was that we not let ourselves be unduly influenced by this environment? Didn’t we recognize the sensitivity of the situation? Hadn’t he done his absolute best to protect us? And yet here I was, acting like a hooligan, fraternizing with the enemy!
We were used to these sorts of speeches, by that point. There was the Pitch In Together speech, the Trust No One speech, the Sports Are a Distraction from the Reality of Life speech. There was nothing odd about my father giving speeches. His work was speeches: motivational speeches, procedural speeches, disciplinary speeches. But as the pressure grew — as it became clear that there was organized resistance to his safety regime, as the year mark passed and he failed to meet deadline after deadline — the hand gestures that accompanied these speeches became increasingly wild, like a loose piece of machinery, deformed by stress. He was moving too quickly around the room, pulling so aggressively on the piece of scalp directly above his forehead that large clumps of hair came off in his hands.
This time my mother made no move, either to comfort or to stop him. Maybe she felt she couldn’t, trapped in a script she was powerless to alter. She only looked at me sadly, as if this was all my responsibility, as if I’d set the stage and started the scene in motion.
I got my first girlfriend that June: Amber Elwell. She lived at the edge of town, where Bacon’s Run met Ridgeway, past soybean fields and stands of oak, past Wiskasset Creek, lined with stunted beech trees. I could only see her for an hour at a time, after school ended and before my mother got home from work; now that my father had taken a leave of absence from his job, my mother had gotten a position as a dentist’s bookkeeper — “to keep our options open,” she told us. But just because he wasn’t allowed to go to the plant didn’t mean my father’s working days were over; he still spent much of his time in the attic, going over security procedures. He had no time for the twins, which meant that after school they were my responsibility.
But I was happy to shirk it, in service of a greater cause. Amber Elwell would change my reputation. I would prove to everyone that I was no vicious bully. I had the gentle hands of a lover.
One afternoon, lying red-faced on her living room couch, I heard Amber’s dog barking outside. My heartbeat rang in my ears: her mother, home!
I crept to the window and looked out onto the lawn. Trevor was at the edge of the road, carrying binoculars. He didn’t bother hiding them, and when he saw me, he smiled that particular half-smile of his, as if he was satisfied I’d been forced to look in his direction, despite all my efforts to ignore him.
Amber joined me at the window. “You creeper,” she yelled. “My brother’s gonna kill you!”
The window was open, and I knew Trevor could hear her shouts, but he didn’t make a sign — just tightened the strap of his binoculars and rode away.
Amber sat on the couch, arms crossed over her chest. “I feel so violated.”
“Don’t worry about it,” I cooed. I crouched in front of her, twining my fingers in hers and pressing her left wrist against the leather. My other hand traced the fine line of her collarbone.
“Don’t.” She pushed back.
“Relax,” I said. “You’re with me.”
She struggled and I struggled back, as if she were some younger kid giving me crap on the playground. I used my legs as leverage. She gripped my hands hard at the knuckles. Red-faced, sweating, she threw me off.
“Get out,” she said through gritted teeth.
I left her house, my penis stiff and painful against my bicycle seat. As I rounded the corner of Craydon, I saw Trevor outside the Mail Bag, drinking a Slice. There was no hockey that afternoon. The Ullman boys were gone, and Trevor ruled the street.
“Stay away from Amber, creep,” I told him. He took a long sip of his Slice. “If you come around again, I’ll beat your ass.”
Trevor pointed a thumb at his house. “You want to see my town?”
I consider this, the bicycle between us. I could have beaten him up without further discussion, but Mrs. Waddell might have seen; so much for my improved reputation. Maybe in his basement I could do what I liked. Besides, I couldn’t lie: I was curious about our town.
I dropped my bike by the dogwood tree and followed him inside.
His house was the same — ashy clutter, stuffed muskrats. His mother was in the kitchen, staring at the flystrip dangling from the ceiling.
“You’re back,” she said. I could hear the eagerness in her voice. She must have thought it sad her son had so few friends.
We went down the basement steps. His city spread across the concrete floor. He must have made a deal with his mother because he no longer had to hide it. Not that he could, even if he’d wanted to. It had grown too large to conceal.
The individual buildings were impressive enough; each had tripled in size, without the model losing any of its symmetry. I could imagine dolls living in their empty rooms. But it was the aerial view from the third step that amazed me. From there I could see the town square laid out like a map, precise in its geometry, but with much more detail than a map could ever hope to accomplish: every hallway, every room, every window. The only thing wrong was the hodge-podge of color: gray walls spoiled by red and yellow blocks. He had to make do with inferior materials.
I leaned back and saw Elverton from a peaceful distance, huddled and serene. Then I leaned forward, peering through the rooms where no one lived — little cells that time passed through. How had he accomplished such detail when no one ever let him inside?
“Go ahead,” Trevor said. “Walk around.”
The shelving was gone from the walls, and there was a small perimeter around the town for visitors to move through. I walked around, glancing into windows. My own house was perfect, but I knew that already. I circled the square, looking for the house where Amber lived. Trevor had it exact, a white farmhouse gone to seed, the porch held up with diagonal beams to keep it stable. But it wasn’t the outside that made me stop and stare; it was the way he’d built the details of the interior: the cut-out wall that linked Amber’s living room and kitchen; the rickety stairs in the main hall that led up to her bedroom; even the bedroom itself, although I couldn’t say for sure whether that room was accurate. I had no intimate knowledge.
I had a strange feeling, watching the model from above, like I was outside time and space, examining a memorial for something that hadn’t yet been destroyed.
“What do you think?”
I imagined Trevor with binoculars, standing on the far edge of the road in the dark, training his eyes on Amber’s bedroom. “You’re sick.”
Trevor chuckled. Maybe this was the response he’d hoped for — the viewer squirming in the palm of his hand. I thought about hitting him but didn’t. I was in his world now. Some kind of curse might fall on me.
“I’m going home,” I said.
“Fine,” Trevor said. “I’ve got work to do.”
I walked back out into the thick heat of late summer. I missed the sounds of the Ullman boys, their calls of C-A-R, the way they put the street in motion. The oldest one worked in a lumberyard now, and the second oldest had joined the army. They had few options, those violent boys. The rest of the gang spent their afternoons inside, watching television. Other than the buzzing of greenhead flies, Craydon Street was as silent as Trevor’s model.
But inside our house, things were anything but quiet. My mother was home, but there was no dinner being prepared; instead, my father was winding himself up for the final speech, Forward to the Future. I remember the way he climbed up onto the table and the way it rocked beneath his feet. He spoke of the future as if it were a city you could go to, but only if you worked hard and were vigilant, because you couldn’t well expect the future to simply come to you, it had to be continually achieved, conquered, realized — a perspective that frightened me at the time, punctuated by my father’s vehement stomping and the clattering of cutlery, but that now strikes me as strangely optimistic. Conquering the future: what a dream!
Before he could finish, the table wobbled and broke beneath him, one leg splintering beneath his weight. He lost his balance on the sliding tabletop and fell face-first, hands and knees slamming against the linoleum. The twins shouted in excitement, my father moaned, and my mother got down on the floor, holding his head and telling him, be still.
“Idiots,” my father muttered. “Ignorant savages.”
“Quiet now,” my mother said. “You need to rest.”
My father stopped mumbling and started panting instead, a tired bull that had dragged us deep into the countryside and then collapsed.
I got up from my seat and went over to where the two of them were lying. I looked down at my helpless father, my foot pulled back as if to kick him. “Get up,” I yelled. “You’re the one who brought us here, you bastard.”
But he didn’t get up. My father panted, my mother whispered, and I looked out the window at the sleeping street, wondering if Trevor was outside, spying as my family fell apart.
I went to Regional that fall. I was no lover anymore; Amber never spoke to me after Trevor came around with his binoculars. Rumor spread that he and I were in on it together, spying on naked girls in nighttime windows — and after my father became a patient at the Woodbury Psychiatric Hospital, the neighborhood kids passed our house with suspicious glances, whispering and laughing.
I was no bully, either. Too many high school kids could kill me with a punch. I was just a gawky boy with clumsy legs and a temper, and I fell in with the kind of kids who fit in nowhere: skinny kids with long hair and bad acne, worn baseball caps and “Stairway to Heaven” bumper stickers. After school I would sit in the back of one of the older guys’ pickups in the parking lot with a battery-powered radio blasting classic rock, and after we’d passed a covert jay, I’d lie with my back against the ridged bed and look up at the sky.
The weed pacified me. While the rest of the guys compared the asses of girls they’d never have the courage to speak to, I made a map out of clouds: Asia, Europe, the long tip of Patagonia. I thought that maybe I would join the Navy once I graduated — the branch of the military that had the least to do with direct killing. The Navy would take me away.
I sometimes saw Trevor during lunch, sitting on the other side of the massive cafeteria, surrounded by boys who played games with cards and dice. He hadn’t grown much. Except for a faint mustache, he could still have passed for twelve.
How had I ever let such a tiny creature frighten me? He looked lonely, even surrounded by people. His eyes scanned the room like a dog let loose in an unfamiliar house.
One morning during my senior year, an announcement came over the loudspeaker while I was in shop. The teacher had us stop our saws and hammers and lathes; we stood and listened in the silence of the big machines.
Everyone report to the gym for an emergency address.
The entire student body crowded the gym, standing shoulder to shoulder — no time to assemble chairs — while the principal gave a speech.
“There has been a terrible accident in New York City,” he murmured into the microphone — this short man with a comb-over, his voice thin even at the best of times. “You should all go home and be with your families.”
Due to some obscure emergency procedure, we all had to wait for our parents to pick us up from school that day, and my mother was late. Once the rest of the students had filtered out through the main doors of the auditorium, confused in their parents’ arms, my homeroom teacher took pity on me and walked me to the A/V room.
There were only ten or so students there, the television trained to a news program, the video loop of planes crashing, over and over. Trevor was there too, sitting in the front row. I didn’t know anyone else in the room, so I sat down next to him.
Trevor turned to look at me. I could tell from his expression that he was afraid, and that seeing me in the seat next to him was a comfort. I was surprised to see Trevor frightened. I’d heard his father had died the year before — fallen drunk off the observation tower at Oyster Point — but I hadn’t sought him out to offer sympathy. Maybe I’d been wrong all these years, ignoring him, insulting him, kicking him in the ribs. Maybe he had feelings after all.
Trevor leaned in and whispered. “Promise me that if something happens to me, you’ll look out for the town,” he said, as if no time had passed since we last spoke about his tiny city.
“I’ll try,” I said.
Was he manipulating me, the same way he’d manipulated me to get access to my house, back when I was young and vulnerable? I told myself it didn’t matter. Here was my chance to redeem myself and show some kindness.
He grabbed my arm, hard. “Promise, Eddie. You’re the only one I can trust.”
“I promise.”
“I still have so much work to do,” he whispered.
My mother arrived to take me home, hurrying me on with a hand against my back. She always moved blindly forward, as if through constant motion you could outrun the fate that was gaining on you. “Hurry up,” she whispered. “The twins are waiting in the car.”
There was no time to consider what Trevor had told me. What did he mean, he had more work to do? How much could his little city grow, trapped in the basement? I’d promised to be the steward of something I didn’t fully understand.
After the national tragedy, my mother decided to run. By this time, my father was out of Woodbury, living with his mother in the northern part of the state. We were told we’d have a chance to visit, once he was feeling like himself again — but by then I’d more or less forgotten what that meant. There was nothing tethering us to Elverton anymore. That March she made plans to sell our house on Craydon Street and move to Pennsylvania. She’d had enough.
“Why now?” I asked her, by which I meant: Why not before?
“The twins’ll be going to high school in September,” she told me. “It’ll be natural. If they stay here, they’ll be feral by Christmas.”
“Who cares about the twins?” I asked, by which I meant: Who cares about me?
I went to the school recruiter in the spirit of revenge. Now that I was eighteen, I didn’t need my mother’s permission. I asked him what I needed to join the Navy, and he helped me fill out all the paperwork. The country was going to war; there was a need.
When I told my mother about my decision — in late May, just before my graduation — she put her face in her hands and wept. The twins were in the living room, watching television and throwing things at the walls. They were the same age as I’d been when we moved to Elverton. What a force of nature they’d become! They tore up shrubs and flowers and dented the side of our family’s shed with baseball bats.
“You too, Eddie?” she asked. “But you’re the good one.”
In the other room the twins were shouting at a cop show: kill him, kill him, kill him. My poor mother’s face was stripped of pride. She’d taken up smoking to relieve her stress, and she had fine lines everywhere. This town had dragged her down.
My mother sold the place quickly; our move-out date was the end of June. I was expected to report for duty the first of July, but I had time to help her clean out the house. For days we labored, clearing out our history. My mother had sold whatever she could spare, but certain things remained: silverware, paintings, beautiful earthenware lamps — a few things kept clean and whole.
By the fourth day, the place was husked. Craydon Street was quieter than ever; all the Ullman boys were grown and had moved away. The nuclear plant was closing down, a casualty of failed inspections. Yet when I went outside to sneak a smoke, I saw that the world was dappled with light, the lawn a riot of magnolia bloom, those full and rotting flowers. The air held the seminal smell of dogwood, and the clovered grass of Trevor’s lawn bristled with green. I knew he was down there, under the earth, fixing us all into position.
My mother joined me. “When’s your bus?” she asked. “The twins want to go to Watertown for Chinese.”
“Eight,” I said. “But I have some business to take care of first.”
My mother nodded, wiping her dusty hands on her jeans. We were long past expecting justification for each other’s behavior.
I crossed Craydon Street and knocked on Trevor’s door. No one answered. I tried the handle, and the door swung open. I hesitated at the threshold, but only for a second. This was my last chance. Even if Trevor wasn’t home, I was going to see what I’d come to see.
I don’t know how Trevor and his mother lived in that empty place. I can only assume they’d sold most of their possessions, whether out of financial pressure or to pay for Trevor’s materials. The coffee table, the piano, even the twin muskrats that used to fight on top of it, were all gone, and in their place, Trevor’s magnificent city.
It was all aboveground now. Most of the houses were as tall as my knee, and some of the larger ones — the school, the fire department engine house — went all the way up to my waist. Each one was built from thousands of tiny bricks pressed together, the thin seams between them invisible to the naked eye. He had copied every windowsill, every balustrade, every piece of cracked and crippled molding, and instead of worrying over the colors of the blocks, he’d simply painted them, like any house, each shade a perfect copy of the source material. He’d even chipped the paint in places and faded it in others, mimicking the sun.
The model didn’t depict the town as it was now, of course, but as it was at a single moment in the past, when we were thirteen: Market, Bacon’s, Craydon, Ridgeway. A snapshot of the year 1997 — a fall afternoon, soundless and still.
Trevor appeared in the dining room doorway. His thin mustache didn’t make him look any older. He spoke as if he’d been telling the same story, with brief interruptions, for as long as we’d known each other.
“What do you think? I’m almost finished.”
“My mom’s moving away,” I said.
He didn’t seem to have heard me. He gestured to the town. “Do you like it? It’s close, you know. Very close.”
“Where’s your mom, Trevor?” I asked. “Where do you eat?”
“She’s sick,” he spat. “I have to take care of her. I barely have any time to build. If it wasn’t for her, I’d have been done a long time ago.” He motioned to the tiny Craydon Street that split the carpet. “Go ahead. Take a walk.”
I walked the path I had once taken with my fingers, counting off the buildings — one, two, three — until I got to eleven and saw it on the right, my empty house. The kitchen where my father fell from the table and babbled “savages”; the living room where the twins threw sticks at the television; the tiny bedroom where I once pulled on my penis in trembling silence — all the rooms stripped bare.
I’d barely been able to keep myself under control for four days, shuttling boxes. This doesn’t matter, I’d told myself. The minute you’re out of here it’ll begin to fade. Years will go by, and you won’t think about it more than once or twice. Just a few years of your life. Just your childhood. Just the place you come from.
I thought about breaking open the dollhouse with my foot, but instead I started crying.
There it was, all that evidence: my life, without me in it.
Trevor watched me silently until I finished crying. “But what do you think, Eddie?” he asked, urgently. “You’re the only one who can tell me if it’s perfect.”
My eyes were red and raw. “Good-bye, Trevor,” I said, and walked out the door.
It’s been five years since I’ve been back to Elverton. I live with the gray ocean, the choked whine of engines as planes take the tarmac and idle in their own smoke, the prison-quality meat they squeeze from a tube. A life of compression, its meaning squeezed into acronyms: DSG, LPOD, OOD.
The one good thing is the constant motion. It takes hundreds of men, moving in tandem, just to drive this metal carrier forward. Nobody turns his eyes to the wake. So when they asked me to go see my father, my mother, my brothers, I could say: my country needs me. I could face forward, toward the future.
Until this week, when I was back on leave, spending my Friday watching Animal Planet in my half-furnished apartment in Tacoma, and I got a call from a man with an official-sounding voice.
He asked if my name was Edward Monroe, as if it were written on a card.
I said it was.
Now this is going to sound odd, he said.
It was a lawyer, put in charge of the personal effects of one Trevor Harrison, and I can’t say I was completely surprised by what he had to say — that Trevor had hung himself in the kitchen of his house, his mother long dead; that he’d buried her body himself and used her social security checks to buy more materials for building. The last, at least, was a surprise, although I’d always known he’d spare no expense for his masterpiece.
“Why are you telling me all this?” I asked, making my voice hard. “What does it have to do with me?” The man was clearly out of his element. “He wanted you to have that . . .” The man hesitated over the word. “That thing he built. He was very specific.”
I said I’d be down on Monday.
It’s Monday now.
I thought at first I’d make my mother do it. She still lives in Pennsylvania, so she’s closer, and anyway the whole thing was more her fault than mine, how our family was wrecked on the rocks of that little town.
But no. Trevor is my responsibility. I made a promise.
I think I know what to do. I’ll make the trip tonight, once the sun sets. I’ll cross the bay on the bridge past Wilmington, get some gasoline at the Sunoco station near Watertown, and then I’ll rocket through the marshland, windows down, smelling the rotting gingko berries. I’ll park a-ways from Trevor’s, so no one will see my car.
I don’t know what I’ll find when I open up that dusty house. Maybe the town will have grown still higher, buildings tall as my chest, straining against the walls, houses inside houses. It doesn’t matter. The only question is how to put an end to it. I could pour gasoline across the floor, trailing a little bit through the screen door, and drop a match — if not for the neighbors. Who knows? I’m sure the story of Trevor has gotten out by now, and maybe they’re as frightened of that tiny city as I am.
But most likely I’ll do what I’ve always done and use my hands, though it’s hard to imagine myself standing over our town like a movie monster, ripping it apart. Maybe this was always Trevor’s plan for me, his dare. He was right, I’m no builder — but I can break things down.
Ken Liu is a literary powerhouse. He’s the author of the acclaimed collection The Paper Menagerie and Other Stories and the Dandelion Dynasty series of novels, beginning with The Grace of Kings. His work as a translator includes the first and third volumes of Cixin Liu’s Remembrance of Earth’s Past trilogy, The Three-Body Problem and Death’s End. (Joel Martinsen translated the second book, The Dark Forest.) And as an editor, he’s recently compiled Invisible Planets, which contains a stylistically diverse range of contemporary Chinese science fiction; he also translated each of the stories contained in it into English.
The array of work in the anthology is expansive, taking in a wide range of work, from the philosophical to the comic to the visceral. Cixin Liu’s “Taking Care of God,” in which the aliens that created life return to Earth in search of a new home; Chen Quifan’s “The Year of the Rat” depicts a surreal nightmare of warfare and genetic engineering; and Xia Jia’s “A Hundred Ghosts Parade Tonight” blends metaphysical elements with a haunting (no pun intended) description of economic desperation.
I spoke with Liu about his work and a translator, and about how Anglophone perceptions of Chinese science fiction are (or are not) changing over time.
Tobias Carroll: In translating Cixin Liu’s Death’s End, was there anything you found particularly challenging?
Ken Liu: I’m not sure that Death’s End was distinctly challenging compared to, say, the first book. In terms of what’s difficult about translating a book like that: there’s a common misconception that the technical language is difficult. I think that’s not true. The technical parts are really trivial to do. The global language for technology these days is English, and therefore, even technical terms in other languages are constructed along English models or are simply translated from English. Therefore, to translate a technical term from Chinese into English is very trivial and not particularly challenging.
What is far more challenging and interesting is understanding and knowing the technical background that’s employed by the author, and then trying to convey that in a way that makes sense. Different readers have different expectations and experience levels. You can’t just translate word for word. It’s not going to be particularly compelling, or interesting, or accurate. As a translator, you have to perform and re-interpret and reconstruct in a way that makes sense.
A lot of what I’m going to say about translation really has to do with the fact that translation is a performance art. This is not my comparison, but rather the comparison of William Weaver, the translator of Italo Calvino in the US. I think it’s really true. With different kinds of performance art, we tend to understand how the performance works; as an audience, we have an appreciation for what kinds of challenges the performers face. For example, a musician playing a composer’s piece would understand the range of choices that they make and understand what they can and can’t do to affect our enjoyment of the piece. With plays, we understand what actresses and actors can do and what directors can do to affect our experience of a play, differently from the words written by the playwright.
Translation, I think, is very difficult for most readers to understand, especially readers in the English-speaking world, who don’t read a lot of translation. It’s hard for them to understand what that means and what translators can and can’t do, and what sort of challenges they might face.
Carroll: Did you have any kind of a back-and-forth dialogue with Joel Martinsen about maintaining the author’s voice into English across all three books?
Liu: There are multiple levels to that. One of them is, Cixin Liu changes as a writer over time, between the books, so his style is very different. The other is, I don’t think it’s valuable at all for different translators to try to use the exact same approach. That’s pointless. You wouldn’t want two musicians who are performing the same composer’s work to somehow agree on one style of performance; that’s not what we’re interested in. In this case, Joel and I agreed on a set of terms early on, to not call the same thing by different names. Other than that, we decided that we wanted to go with our own distinct approaches. We have different philosophies. We’re friends, and we like each other, but it’s most effective for us to take different approaches. The three books are very different in style, and were written with very different voices. There was no need for us to get in each other’s way, in that sense.
Carroll: If you had told me, after reading The Three-Body Problem, where Death’s End ended up, I would have been shocked. The trilogy goes through so many cycles and reinventions.
Liu: He writes like no one else, and he changes greatly between books, which makes it both more fun and more challenging to do translation in a way that preserves that spirit.
Carroll: The only other work of his that I’ve read is his story in Invisible Planets, and then “The Poetry Cloud” in the Ann and Jeff VanderMeer-edited The Big Book of Science Fiction. It was interesting to see these very different sides to his work in both of those anthologies as well.
Liu: He is even more accomplished as a short story writer than as a novelist. “The Poetry Cloud” is one of his most amazing works. I really, really enjoy it. “Taking Care of God,” in Invisible Planets, is a different kind of work, and I also like that a lot. They’re very different kinds of works, and he is interesting as a writer, because he covers a wide variety of styles, and has a very big range.
Carroll: In both “Taking Care of God” and the end of the trilogy, there’s a sense of the universe as both a very dangerous place, where humanity is in constant danger, but also a strange kind of optimism. I found the way they coexisted to be very interesting.
Liu: I wouldn’t quite phrase it the way you did. In some interviews, he is baffled by the way that we interpret the story as somehow tragic. Look, the universe is going to end; that’s just a fact of life. The universe is going to end some day, and we’re all going to die. That’s real. There’s nothing sad about that; that’s just part of life. At the end of a comedy, we think the hero and heroine get married and everyone’s happy–they’re all going to die in another hundred years! If you wait long enough, everything turns into a tragedy. Everything ends with death. Death’s End and “Taking Care of God” are not tragic in that sense. These are stories about the grand history of the universe. We know how the universe is going to end. That’s the way is is. Whether a story is a tragedy or a comedy or a story of heroism or pessimism or optimism depends on how you get there.
The universe is going to end some day, and we’re all going to die…There’s nothing sad about that; that’s just part of life.
As far as I can tell, these are all incredibly happy stories. Humanity is the real hero. We are tiny, we are insignificant, and yet we manage to rise above ourselves. It is the duty of every species to rise up and to be grander than what their limitations are, to encompass the universe in spirit, if not physically. I find that incredibly optimistic. I don’t read these books as being pessimistic, or as saying that the universe is dangerous. I think they’re saying that the universe is uncaring, but also very beautiful, and that we are very lucky to be alive in it.
Carroll: One of the things I appreciated when reading Invisible Planets was that you had multiple stories by each of the authors featured in it. Did you have that plan in mind going into the book, or did it come up further into the process?
Liu: This is different from most other anthologies you’ll read. With most anthologies, an editor has an idea, and they’ll go through books and pick out things they like, and [then] they might pitch the idea to a publisher or do the selection later. Invisible Planets didn’t happen that way. Invisible Planets was not an anthology that began with an idea. It basically represents a selection of stories that I found to be the most compelling in my journey through contemporary Chinese science fiction, and that I personally enjoyed, and think are in some way representative of the genre.
I had no interest in doing an anthology when I started doing the project many years ago. I was just a reader and a fan, and I realized that I wanted to share some of these stories with my fellow Anglophone readers, and I started doing translations. By the time I had so many translations and had done so many stories, I thought that I could pick out a bunch that were really strong and compelling and create an anthology out of it. That happened at the end, rather than the beginning. This one didn’t start out with an idea, but rather, ended with an idea. It was a journey; it was the summary of my own personal journey. That’s a little different than a lot anthologies you’ll read; it didn’t start with a theme or an idea: “let’s do the best science fiction and fantasy of this year,” or anything like that. It was just me, wandering through the garden, being struck by certain beautiful pieces, noting them down, translating them or saying, “I’m going to do this later,” and eventually saying, “Gosh, I have so many of them–let’s put them together into a book!”
Carroll: You spoke earlier about the performative aspects of translation. You’re also a writer; do the two go hand-in-hand for you, or do you need to restrain parts of your writing side when translating?
Liu: I don’t think of them as being in conflict or competition. There are plenty of composers who are also performers, like Mozart. There are lots of playwrights who are also active in the theater, either as directors or as actors and actresses. I guess it’s similar. These are two very different kinds of art. They superficially have some resemblance, but they’re not terribly related. In writing, you are creating an artifact that is entirely textual, that is entirely based on the written tradition and the ideas that you are trying to express, the emotional journey that you want readers to go on. In translation, it’s a performance, and like any performance art, you’re much more driven by the audience. What you’re doing is a much more intense version of the dialogue with the audience than you would as a writer. As a writer, you’re mediated somewhat, but as a translator, you’re not. For me, the two are very different things. I don’t think of them as being in conflict or in competition.
I do think that translation uses a very different part of my mind. The time that I spend in translation doesn’t really feel like it’s taking the energy I would have had for writing away, and vice versa.
Carroll: Since you began translating some of these stories into English, have you found any changes in how Chinese science fiction is perceived by Anglophone readers?
Liu: I can’t say I have, beyond the most superficial ways. When I started doing translations, many of the magazines had never published a translation before, and many of the Chinese authors had not been translated before, so it was all new. Several years later, now with The Three-Body Problem being a Hugo winner and Death’s End being on the New York Times bestseller list, when I mention Chinese science fiction, many more Anglophone readers know what I’m taking about. They’ll say, “Oh! I’ve read The Three-Body Problem,” or, “I know Clarkesworld is doing that translation series.” If nothing else, there’s much more of an awareness. I don’t know if there’s any deeper critical discourse that’s changed in the intervening years.
One thing I would hope is to see is for translations in general — not just of Chinese science fiction — to become more a part of our Anglophone reading, so that we no longer see those works as different, as translations, but rather as entries in the global conversation. I don’t think we’re there yet, and I don’t know if we’re going to get there, but I’m encouraged by the fact that a big publisher like Tor Books, and Head of Zeus in the UK, are willing to put out an anthology like Invisible Planets. Hopefully we can pave the way for more great translated fiction from other parts of the world. I know there’s exciting stuff being written around the world, and we’d all benefit from having it.
Carroll: In several of the introductions in the anthology, you address the dangers of thinking of writers from any one country too monolithically, or of interpreting some of the issues addressed in these stories as being specific to one country rather than reflecting global concerns.
Liu: I think there’s a particular danger with fiction from China. China is of interest to a lot of Americans, because there’s a huge level of distrust and a huge amount of wishful thinking on our part as to what China is like. We don’t trust China. We’re very suspicious of it; we view it as a rival, and possibly, we cast it in a villainous color. We often think of China as kind of a dystopia, and we think that everybody there is terribly happy all the time, that they’re slaves enduring a dystopian existence. The reality, of course, is far more complicated. It’s not like that.
My caution is that, if you go in there with the idea that what the media tells you is all there is to know about China, then yes, you’re going to read all these works with a particular set of frameworks and a particular set of expectations. All texts are packed by reader expectations and interpretive frameworks before they can be unpacked. If you go in there with these expectations and interpretive frameworks, then, no, you’re probably not going to enjoy these stories very much, because all they’ll do is confirm your pre-existing prejudices.
If you go in a little more open-minded and abandon those media notions and just say, “I don’t know a whole lot about China, and I’m not sure I’ll learn a whole lot from these stories. So let me go in there and try to keep an open mind and see if these stories are interesting, if they show me something about the world I hadn’t thought about before, if they show me something about the human condition, if they show me something about modernity, about being caught between tradition and the future, being caught between the very old yearnings of being human and the very new desires of being a technological being. Because of the powerlessness we all feel in the post-capitalist, late capitalist, global society, in the sense of the boundless technological potentiality we feel as citizens of a networked world. Let’s go in there and see if these stories can tell us something about these feelings and these challenges that we all face.”…then I think you would enjoy them a lot more. The interpretive frameworks will have more room, the expectations will be more focused on being surprised, and I think readers would enjoy the stories a lot more if they don’t approach them with very strict expectations based on what they think they know about China.
The President and Executive Director of the Authors Guild field questions from emerging writers in an epic Answertime session
Electric Literature and the Authors Guild are partnering up to launch the Emerging Writer Membership program, which for the first time will allow writers just starting out in their careers to join the country’s oldest and largest professional writers’ organization. As part of the effort, we decided to put on the Guild’s first ever Tumblr Answertime session. Over the weekend, 2,000 questions came in from emerging writers, and earlier today, Authors Guild President (and acclaimed writer) Roxana Robinson and Executive Director Mary Rasenberger came by Electric Lit to knock out some answers.
For a full record of their literary and professional wisdom, you can check out the Tumblr page. But in the meantime, here are the day’s highlights, from how to find an agent to freelance tips to the one piece of advice all young writers should keep in mind.
How do I find a publishing company that’s good for me?
You should be looking for a publisher that publishes the kind of books you write; a publisher who believes in your work and will work as your partner in bringing it to market and selling it; and a publisher whose contract with you reflects that partnership.
[A question in multiple parts…] 1. How does one get started as a freelance writer? What are some websites and resources that provide this information? 2. When inquiring to an editor abt submitting a piece for compensation what are things a novice freelancer should know?
1. To get started as a freelance writer, you need to consider what the kind of writing you want to do demands. Nonfic/commentary requires monitoring a beat, and writing and submitting constantly. The turnaround from writing to publishing doesn’t happen as fast for fiction and poetry, so you need to set yourself up with enough time and resource to give sufficient focus. Whatever kind of writing you want to do, to make a living off of freelance writing is a hustle, so real talk: make sure you have some savings in the bank before you quit the day job. Or maybe just keep the day job.
The Authors Guild provides up-to-date information–see this post about what the Trump presidency will mean for authors–and services/resources such as liability insurance to support working writers. The Freelancers Union also has practical information and services, for instance how to buy affordable health insurance under Obamacare. Some of the best resources will be your fellow writers, and programs such as the Emerging Writers Membership at AG will provide both support and bring you in contact with other working writers.
2. When it comes to inquiring about compensation, just be up front. You should not work for free. When you’re starting out and looking to create a name and readership for yourself, publicity can feel like a fair swap, but it’s not. There’s enough free content on the internet that if you’re getting published through a legit platform, you should get paid. A way to think about it is like this: the way you ask about compensation should reflect the effort you’ve put into your work. For nonfiction writing (including essays/commentary/reviews) have a standard payment rate in mind in terms of word count. For copywriting, have a standard rate by hour. These rates can increase as you become more experienced. Also have an invoice template prepared with your banking info, and always add a deadline for when you should receive payment (a good turnaround is two weeks to one month).
When you’re starting out and looking to create a name and readership for yourself, publicity can feel like a fair swap, but it’s not.
On a scale of one to ten, how hard is it to self publish?
It’s very easy to self publish: let’s say a 1 or 2. However, finding readers for your work is a 9 or 10 level of difficulty. Marketing your self-published work can be a full time job, and the Authors Guild has some great resource for self-published authors: www.authorsguild.org.
Can you break down some of the pros and cons of pitching your work to an agent, going directly to publishing houses, or trying to publish through less traditional routes?
If you aspire to publish a book with a major publishing house, you’ll need an agent to submit your manuscript. However, as you alluded in your question, there are other ways to publish. Many independent presses hold contests, the prize for which is publication. Some independent and “micro” presses accept unsolicited query letters or manuscript submissions. If your primary desire is for your writing to be read by your personal network of friends, family, and your community, self-publishing may be a good choice. Self-published authors do not have the support of the marketing and publicity staff provided by publishers, so if you are part of a reading or writing community prior to self-publishing, it will be very helpful to finding readers for your work.
Does an agent cost me money?
Agents generally take 15% of your earnings, and 20% for foreign sales; they do not charge an upfront fee.
Some assume that the “short story” is dead, or that short story writing no longer draws in readers (or income) unless you’re already an established author (such as King or Oates). Would you agree with this sentiment? Is the art of the short story extinct?
The short story isn’t at all dead, it’s thriving! Every year, anthologies of great short stories are published, among them Best American Short Stories, The O.Henry Awards and the Pushcart Prizes. If this form interests you, buy those books, read the stories, and have a look at the back of the books, where there are lists of literary magazines that publish great stories each year. Find a literary magazine that publishes fiction which you like, subscribe to it (you need to support the community that you hope will support you) and start sending your stories to it. Start learning about the community that publishes them: the short story is a great literary form.
Does having an MFA in Writing make you more attractive to a publisher? In your opinion, does it better your chances?
Good question; it’s one that the writing community discusses often. Great writing will always speak for itself, so the simple fact of having an MFA won’t necessarily make your work more attractive to a publisher. On the question of better chances, however, an MFA does help emerging writers build a support network that includes fellow writers, and connections through professors and alumni who can direct you to good agents and publishers. But if you choose to not go the MFA route, organizations like the Authors Guild also offer programs and support networks for writers, emerging and established alike.
While teaching creative writing, my students and I have read a lot of advice to use a pen name when a writer has a ‘foreign’-sounding name. What are your views about discrimination in the writing industry? Is it as common as this advice implies?
That’s a really good question. A certain amount of discrimination exists in the publishing industry, but more and more voices are being heard from outside the mainstream. It’s important to be part of the push against discrimination: let readers know who you are and what your community is.
Does it feel more like a hobby or more like a job when you write? I want to become a writer but it feels like if I write too much I’ll lose interest
It’s a job; if you are serious about making a career out of writing, you have to treat it like a job.
How do you avoid someone stealing your ideas if you send it to them for reviewing?
Ideas in and of themselves are not protectable, and few if any publishers would agree to a condition that they not be allowed to use ideas you submitted. In fact, in the film industry, the studios often make writers who submit screenplays agree that the studio can later use the idea. We’ve started to see some publishers who receive unsolicited manuscripts do that too. It protects them since they may receive the same ideas from others. But once you have expression — that is words on a page — you have copyright protection, and have the right to prevent others from using your words or any story line that goes beyond ideas. Distinguishing between ideas and expression is admittedly a complicated area of the law, but I always recommend that you submit as much expression (ie, words on the page) as possible.
Do you know of any specific resources for LBGT+ writers and/or writers of color to get support and funding throughout the writing and publishing process?
Lambda Literary is a good place to start for LGBT writers, and Kimbilio Fiction for writers of color. Grants are available for writers from the NEA, as well as from many state arts foundations, and some grants may be specifically focused on diversity.
Do you think ebooks are bad for authors? Particularly regarding their revenue.
E-books are great, though in the current publishing climate, the major publishers aren’t paying adequate royalty rates for e-books, in the Authors Guild’s opinion.
What is the most common mistake beginning authors make?
Not being persistent enough and not revising enough. You need to be prepared for lots of rejection without getting discouraged and just keep at it. And you need to edit and re-edit. It’s hard work, but needs to be done. Good luck!
What do you do when you have writers block?
Everyone has to deal with this at one time or another — you just have to write through it. Give yourself a goal of writing a certain number of words each day, and make yourself reach that goal. You’ll throw away a lot of work, and at times it will seem as though you are going nowhere, but you are going somewhere. At some point you will reach a place in which you feel yourself really writing again — flying along in the upper airways.
How long is the editing and publishing process for a manuscript?
A book is typically published within a year after the manuscript is turned in and the contract is signed. This timeline usually includes two rounds of edits.
What is your opinion on audiobooks? Is it dying out or blossoming more now than ever with platforms like Amazon and iTunes? What do you look for in an audiobook reader?
Audiobooks definitely are blossoming since it is so easy to listen on your phone or wherever. A lot of reader are discovering them for the first time. Personally, I love listening to books while driving. The choice of readers is really personal.
What do you wish someone had told you about writing when you started out and what is one thing you’ve learnt about writing from personal experience and want to share?
I think the most important thing is that nothing changes when you publish. You still face the same problems each time you sit down to write — the same fears, the same confusions, the same uncertainties and excitements. So don’t think that once you are published, or once you’ve reached some mythical plateau, that you will find that your problems evaporate. They will never evaporate; on the other hand, confusion and anxiety and uncertainty are part of the great throng of things that drive us to write. They are endlessly interesting and galvanizing, so writers should not hope they disappear. They’re part of the writing life.
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