BuzzFeed Launches Emerging Writers Fellowship: An Interview with Literary Editor Saeed Jones

Update 4/28: you can now apply through submittable.

BuzzFeed is going literary. The ever-growing media company launched BuzzFeed Books in December of 2013, and this year it is launching several projects under new Literary Editor Saeed Jones. First up is the BuzzFeed Emerging Writers Fellowship program, which has a “mission of diversifying the broader media landscape by investing in the next generation of necessary voices.” The four-month fellowships “give writers of great promise the support, mentorship, and experience necessary to take a transformative step forward in their careers” and also include a healthy $12,000 stipend. (Check out the full information and application procedure here.)

I talked with BuzzFeed Literary Editor Saeed Jones about the fellowship program, journalism in the internet age, and the need for diversity in publishing.

Lincoln Michel: It seems like you’ve had a whirlwind of things happen in the last year. Your poetry book, Prelude to Bruise, was published by Coffee House in August to widespread (and deserved!) acclaim. You were just a finalist for the National Book Critics Circle Award. And now you are becoming BuzzFeed’s Literary Editor. What prompted the move and what else are you working on?

Saeed Jones: My hope was to write the kind of book I very much wish I’d been able read when I was a teenager growing up in Lewisville, Texas. The only books in the public library about “homosexuality” focused on AIDS or “dealing” with your gay kids. So to have my work recognized on this scale has been truly stunning and a bit overwhelming. Last winter, Shani Hilton, BuzzFeed News’ executive editor, challenged me to think about what I wanted the next mountain to be. I launched BuzzFeed’s LGBT vertical two years ago. I’ve had the tremendous honor of editing work by a team of five brilliant writers and reporters who I believe are among the best in their respective beats. I’m so proud of what we’ve built together and what they will continue to do as a team. But I’m most excited when I’m creating new spaces and projects. When I first pitched the fellowship and the literary magazine and the answer from Shani and Ben Smith, BuzzFeed’s editor-in-chief, was an enthusiastic yes, I actually teared up. What an amazing opportunity! In retrospect, working as BuzzFeed’s LGBT editor while promoting my book and planning these projects has made for a really intense few months, but I’m so excited I’m literally cackling at my desk right now.

The fellowship is just the beginning of what I really like to think of as a kind of literary movement coming to BuzzFeed. In addition to the fellowship program, I’ll be launching a literary magazine — about a year from now — as well as a reading and salon series. We’ll also be hosting creative writing workshops. I have so much to learn and an incredible amount of work ahead of me, but this feels like an organic shift for myself. BuzzFeed has never asked me to choose between my life as a literary writer and my life as an editor here; this new promotion grows out of that relationship. The first time I met Ben Smith in person during the interview process for the LGBT editor position, he said, “I loved the essay you published on The Rumpus. I wish we’d publish it here.” So, in a way, this feels like we’ve come full circle. Isaac Fitzgerald — who edited that essay — set us on this path when he launched BuzzFeed Books over a year ago. He’s been publishing essays by writers like Mac McClelland, Lev Grossman, and James Hannaham alongside hilarious and entertaining posts that celebrate reading as a way of life. I think it’s fair to say there were a few skeptics initially about the idea of book culture and BuzzFeed culture coming together, but it totally works. I’m excited to push us even further and publish new fiction, poems and lyric essays by writers we adore and writers we will soon be obsessed with. Oh, and I’m pretty stoked about being able to pay them for their work.

LM: Let’s talk about money. The four-month fellowship includes a $12,000 stipend. For a long time, the publishing world has shied away from talking about the financial realities of writing and editing, and the world has often been limited to people who could afford unpaid internships to get in the door. Why was it important for you to provide your fellows with a stipend?

SJ: One day, centuries from now, a famous historian — I’m picturing a sharp-witted black woman because I sincerely believe black women are from the future — will look back and say, “I can’t believe they used to expect young writers to move to one of the most expensive cities in the world and work for free so they could learn how to become better writers.” When we expect young writers to get experience via unpaid internships, we’re actually saying we want only wealthy people writing about American culture in an influential way. That’s what we get, right? Or rather, that’s what we’ve gotten used to accepting as normal when in fact, it’s a kind of fiction. Diversity is reality. So, in order to do my part to support being in step with reality, I’m really excited about creating an opportunity for emerging writers to get experience and mentorship while also receiving financial support. You can’t expect someone to do their best work if they’re exhausted and broke. Well, maybe you can expect it but doing so strikes me as a bit cruel.

You can’t expect someone to do their best work if they’re exhausted and broke. Well, maybe you can expect it but doing so strikes me as a bit cruel.

It’s important to add too that I’m keeping a very open mind about “emerging,” which, I guess, typically is read to mean young. Sure, I look forward to giving young writers a shot, but I’d also like to see all kinds of writers of great promise apply: writers who are transitioning out of academia, for example, and have published a few essays but are struggling to get a foothold in this new field; writers from marginalized communities who so often aren’t given an opportunity to tell their own stories, etc. Writers will have from now until October to apply to the fellowship and the program will start in January 2016.

LM: The fellowship program sounds really ambitious. The fellows are not only practicing pitching and writing different types of work, but also attending workshops and panels with established writers and editors. Can you elaborate on how that will work? What kind of writers and editors will you be bringing in?

SJ: My hope is that the fellowship will be joyfully rigorous for everyone involved. I’m designing a curriculum that balances learning opportunities with time to write. Everything we’ll do in the fellowship will be aimed toward positioning the writers to thrive after the four-month program is over. They will write for BuzzFeed, of course, but also will be encouraged to pitch to other publications because navigating the industry as a freelancer is a wild and sophisticated process. Toward that end, I look forward to introducing the fellows to amazing writers and editors like Jenna Wortham at the New York Times Magazine and Kai Wright at The Nation. Establishing relationships with future colleagues and mentors is so important and, I’ve found, very difficult for emerging writers who don’t have a clue where to begin. So we’ll work on that together. I’m also going to be hosting a salon series in NYC that will bring together writers, artists, and thinkers along with the fellows. I think this is going to be a transformative experience for the fellows as well as myself.

LM: Do the fellows pick a field (say politics or entertainment or the arts) to be mentored in? What else should potential applicants know?

SJ: Part of the applicants’ statement of purpose will need to address the two following questions: “If given this opportunity, what are three to five reported stories/personal essays you would pursue? And how do these stories reflect your drive and personal mission?” So, yes my expectation is for applicants to have a sense of what aspect of culture they’re most excited about engaging and interrogating. They’ll come with a sense of direction and my job will be to help get them there.

LM: Publishing and journalism are frequently — and correctly — critiqued for being very white, as well as very male and middle/upper class. However, for all the gripping about the new media outlets, they have been doing a much better job of hiring diversely. Do you think things are improving in the industry overall?

SJ: I’m cautiously optimistic. On one hand, we’re seeing media organizations like BuzzFeed, Fusion, and others actively working to create diverse newsrooms. I suppose we could consider The New Republic an example of this shift too, though it seems TNR didn’t change until it was finally and rightfully shamed into doing so. Meanwhile, based on last year’s Publishers Weekly survey, the publishing industry is basically 89% white. How many black literary agents do you know? How many major publishers are run by women? So, maybe there is a shift happening right now. We’ll see. Creating meaningful diversity in media will take time and tremendous effort. When I say “meaningful diversity,” I’m talking about hiring brilliant people from diverse backgrounds, covering or publishing work that speaks to a multiplicity of experiences, as well as having diversity throughout the company from the interns up to the board room. A newsroom that has zero people of color one week then five people of color the following week is a better newsroom. But better isn’t the same as good.

LM: The journalism landscape has changed more drastically in the last fifteen years than perhaps any other industry. What do you think young writers who are just starting out should know?

SJ: Jazmine Hughes just joined the New York Times Magazine as an editor. I’m so excited to see what she does there. Rallain Brooks — one of the hardest working young writers I know — has such an intelligent heart. He has been doing work with Adult Magazine, Guernica, and The Audubon Society. (It’s amazing, isn’t it? How hard writers in NYC work. We take it for granted, I think.) He just joined Huffington Post as a features editor. And, let’s be real, where would we be without Ashley Ford’s essays? I think we’re all better for every essay of hers we read. And forgive me, but I won’t lie: I get to work with so many brilliant writers at BuzzFeed. Matt Ortile, Heben Nigatu, Alanna Okun, and Arianna Rebolini are just a few of the writers here whose work astounds and delights me. Oh, and if people aren’t reading Durga Chew-Bose’s essays, they aren’t living life to the fullest.

LM: In addition to the Emerging Writer Fellowships, I know that you are working on a BuzzFeed literary magazine. What can you tell us about that? Any idea when that might launch?

SJ: I’ve been working on the developing the concept for the fellowship since last year. It’s so important to get it right when we’re tasked with creating new spaces and platforms for writers. And yes, I’m in the early stages of creating a literary magazine featuring short fiction, poetry, and lyric essays for BuzzFeed’s readership. My goal is to figure out what a literary magazine could be in the 21st century. We’ll launch around March 2016. Established magazines like Poetry as well as new publications like The Offing and Winter Tangerine Review are publishing absolutely wonderful work and embracing the social web in a way that’s really exciting to watch and learn from. Combining BuzzFeed’s tremendous platform and technology with a deep appreciation for original, creative writing is going to be wild in the best sense of the word.

art is not the enemy of everyday life; rather art exists to color and clarify everyday life.

But, you know, I’ll say this: I can already tell you BuzzFeed’s literary magazine will be rooted in the idea that diversity is reality and should be reflected in the work we publish as well. An idea I keep returning to as I continue to work on the magazine’s vision is that art is not the enemy of everyday life; rather art exists to color and clarify everyday life. The Paris Review published “The Ballad of Ferguson” by Frederick Seidel — a native of St. Louis, born in 1936 — on Nov. 25, 2014. That’s the day the grand jury in Ferguson, Missouri, decided not to indict Darren Wilson. Seidel’s ballad opens with the line “A man unzipping his fly is vulnerable to attack” and closes with “Martin Luther King is dead.” It struck me as a real missed opportunity on the part of The Paris Review. Seidel, of course, is a talented and award-winning poet, but were no black writers of a similar caliber available that week? Were any black writers even asked if they’d be interested in writing a poem about Ferguson? I’m going to learn from that mistake and try my best not to repeat it here at BuzzFeed.

Terms of Endearment: Satin Island by Tom McCarthy

by Will Chancellor

Tom McCarthy’s fourth novel, Satin Island, asks us to consider what’s left in the absence of feeling. McCarthy writes in the tradition of Alain Robbe-Grillet, whose collection of essays, For a New Novel, argued that repeating geometric structures should replace psychological depth and the outbursts of passion found in the bourgeois novels of 1950’s France. As an heir determined to invest rather than squander his inheritance, McCarthy has shown, with each book, how to advance the nouveau roman without betraying its core tenets. In fact, we can take the title of McCarthy’s debut, Remainder, as indicative of what’s left over after the plump cake of potential literature is sliced with Robbe-Grillet’s knife. In short, what’s left is a cardboard disk with knife marks like an asterisk; a flattened star with the narrator as an infinitesimal intersection and his intuitive leaps as doomed radii.

Yeah, but seriously, what’s left? Certainly not action. Imagined action, maybe, but not action in a conventional sense. The narrator of Satin Island is a man, referred to only as U., earning a living wage as the “chief ethnographer” for a global consulting firm. He is given total autonomy to compose a Great Report on our times. “What do I do? I’m an anthropologist. Structures of kinship; systems of exchange, barter and gift; symbolic operations lurking on the flipside of the habitual and the banal: identifying these, prising them out and holding them up, kicking and wriggling, to the light — that’s my racket. When these events (events! If you want those, you’d best stop reading now) took place…” All praise be to the headhunter who found U. Tom McCarthy’s dream job: being paid to sit in a room, contemplate minute details like denim weaves in France and proto-bungee jumpers in Vanuatu — both examples taken from Satin Island — and assemble these findings in a report that will define his generation, if not all generations. The action of Satin Island is the line from one of U.’s insights to the next. Structure and linkages between ideas take precedence over story — think of a crime drama like True Detective and remove everything but the scenes where the hero is clipping articles, slapping a file folder excitedly, and taping photographs to a corkboard. In the acknowledgments to Satin Island, McCarthy writes, “Satin Island gestated during a 2010 residency at the International Artists Studio Programme in Stockholm, which I spent projecting images of oil spills onto huge white walls and gazing at them for days on end.” All of McCarthy’s work is highly structured and the inclusion of this detail seems like no accident, but rather an aid in visualizing U. as action hero in the assembly of the Great Report.

Tom McCarthy has written modernist, structural fiction from the start, but details that once seemed minor have grown in importance with each new work. A former soccer referee named Anton in McCarthy’s first written, but second published, novel, Men in Space, explicitly stated the importance of geometry: “Anton recalls his refereeing days in Bulgaria: the trick was to see all the near-identical shirts, repeated runs, sudden departures, switches and loop-backs as one single movement, parts of a modulating system which you had to watch from outside, or above, or somewhere else.” Lines, squares, arcs, these are the things that create a game and transform a cast of uniformed scrubs into players. Any group of characters, fictional or not, waits “for the moment when the whistle will once more release them into game time, into pure geometries of green and white.” It is the geometries that we must observe, not the players, because the men are without qualities and the network is the only hope we have or arriving at meaning.

Remainder presented the absence of feeling as a potential source of drama; the text does little to dissuade the first-time reader from thinking it’s a comeback story. My thoughts when first reading it were: ‘Okay, maybe the narrator’s apathy is a cortical deficit. This poor guy just got beaned by a falling satellite and his limbic system is rattled to say the least. But his Project can save him! Stella can, nay, must get her groove back!’ That reading of Remainder doesn’t really pan out. We do go from, “I felt neutral,” in chapter one to a refrain of “I felt happy,” in the closing scene, but the nameless narrator’s happiness is unrecognizably bizarre.

Serge, the protagonist of Tom McCarthy’s Booker Prize shortlisted novel, C, is acutely aware of his place in this universe. While fighting as an aviator in World War I, Serge gets flattened. “Within reaches of this space become pure geometry…he’s the clamp that holds the pencil to the compass, moving as one with the lead; he is the lead, smearing across the paper’s surface to become geometry himself…” Just as Edwin Abbott did in his speculative novel Flatland, McCarthy literally removes a dimension from the story; in a paragraph he takes us from the cockpit of a fighter plane in a dogfight to a pencil-drawn arc on a sheet of paper — and somehow it’s fascinating.

Satin Island, explicitly a novel about writing a novel about writing a novel… makes clear that U. will not be ‘feeling’ much of anything. U.’s reaction to an ecstatic text from his boss that they secured a contract: “The Project was the Koob-Sassen Project; we’d been going after the contract for some time. Good, I texted. The answer came more quickly this time: Good? That’s it? I deliberated for a few seconds, then sent back a new message: Very good.” U. relating a tryst: “When I arrived at Madison’s, we had sex.” And finally, U. receiving news of Petr’s cancer:

Hey, he said: you know that goiter they were going to take out? Yes, I replied. Well, he told me, they did; and then they cut it up to look at it and it was cancerous. Shit, I said. Yes, he said. Good thing they took it out, I said. No, U., he said, the goiter’s just an indicator: I’ve got thyroid cancer. Shit, I said again. Yes, he repeated — but it’s not that bad. How come? I asked. Because, he said, as cancers go, thyroid is a pretty lowly one: a lickspittle of cancers, a cadet. It’s almost never fatal. What do you have to do, I asked. I have to drink a bunch of iodine, he said. It soaks up all the bad cells and destroys them. It will make me radioactive. I’ll be going round town oozing rays and isotopes, like a plutonium rod. Far out, I said. Yes, he said: I’ll be able to look straight through girls’ clothes and see what colour underwear they’ve got on. Really? I asked. Of course not, he said. But I will ooze rays. Far out, I said again; I didn’t know what else to say. Yeah, he repeated, far out.

Words, like the blind moles they are, burrow into the dirt before all of us when we’re faced with catastrophically bad news. Does that make us monsters? Hardly. That’s not what McCarthy highlights in this scene. There’s more going on here than being at a loss for words. U. is rejecting emotion by failing to respond to Petr’s levity in any kind of humane way. In fact, we see this empathic blindness in U.’s hypothesis that the exterior world is carcinogenic and the likely culprit of Petr’s thyroid cancer: “The stuff of the world is black. If Petr’s flesh was turning black it was because he’d let the world get right inside him, let it saturate him…”

I never thought I would find myself arguing the importance of authorial intent, but I think knowing what McCarthy is up to helps readers understand Satin Island. After four novels that could be described as an emotional wasteland, the question arises, How intentional is the lack of empathy in the novels of Tom McCarthy? I’d say very. And, if we read his books from an Eames chair in the library of his French literary estate, we can better see McCarthy’s unique contribution to the nouveau roman: these books are funny and Satin Island is his funniest work to date.

McCarthy’s intentionality is most evident in three successive paragraphs near the novel’s climax. U. has become preoccupied with a newspaper story of a parachutist’s death in which the authorities are considering foul play. “As I held the page above my knees, sat on a tube train shuttling through a tunnel, the question of the murder’s true location resolved itself for me: I realized the crime scene, properly speaking, was the sky. Or, to flip this one back out as well: the sky was a crime scene.” For half of the novel, U. speculates as to motive and opportunity and finally arrives at a brilliant solution to the logical problem of the murdered parachutist. Laughing, we rejoice with him, “I’d made a genuine discovery, a breakthrough, on the scale of Schrödinger’s or Einstein’s. Of this I was quite certain. Fuck! I shouted, one more time; then I sat down, shot through with revelations. The year would be a glorious one.” McCarthy then juxtaposes that mania with, “Petr was admitted to hospital in mid-January. The cancer had spread all round his body. It was particularly bad in his lungs.” The fluid the doctors extract from his lungs is compared to Cherryade and the smudged and blackened windows of the hospital U. is visiting, “upset me, much more than the fact of Petr’s illness did.” U. is livid about the windows, indifferent to his friend other than as a source of metaphor for the Great Report, and then, “The next week brought a massive disappointment: I discovered that my parachutist theory didn’t work.” It strains credulity to believe that this contrast of insight and emptiness is accidental. And, when this potentially frustrating section of the novel is read in light of McCarthy’s intention to remove feeling, a character who appears impossibly callous becomes hilarious.

The central conflict of the Satin Island is, Who tampered with the dead skydiver’s rig? This activating incident calls to mind the ill-fated hot air balloon in Enduring Love. But, importantly, McCarthy takes his novel in the opposite direction of Ian McEwan, who was exploring the emotional impact and psychological ramifications of watching that fall. (Were McCarthy to write McEwan’s novel, he would be interested in the five men, as vectors, converging on a balloon in the field and, when the event was over, would reveal the precise origins of the reeds woven to make the balloon’s wicker basket — and, somehow, it would be fascinating.) Unlike McEwan, who moves as quickly as possible from the geometric to the human, McCarthy obsesses on the vertical and, in this way, advances the nouveau roman, adding a third dimension to a largely two dimensional world.

Satin Island begins with U. observing an oil spill, and that billowing oil resurfaces throughout every chapter of the novel, “Earth wells back up and reveals itself; nature’s hidden nature gushes forth.” Petr’s cancer cells are sent to Greece for a lab screening to find a new cytotoxic agent. They resonate with Jaffa-orange extract which leads U., in a characteristic intuitive leap, to envision burning oil-wells in the Middle East, “their smoke-plumes blackening the sky — and blackening the orange groves as they drifted across these, leaving tarry deposits on trees’ barks, on leaves, and on the fruit itself. When that scene came to me, when I pictured all its hatred, all its violence, all its blackness being injected into Petr, I knew — instinctively and with complete certainty — that he was going to die.” Oil as death, literally fossilized death, rising up to intrude on our flat world and a parachutist with a doomed rig falling making the sky a crime scene. This tension of the world above pushing down and the world below pushing up flattens the reader into McCarthy’s cardboard disc, which justifies the geometry of the nouveau roman in a new and exciting way. Anyone who appreciates beautifully crafted sentences will find the same delights here as in his previous novels, but readers willing to surrender to McCarthy’s idiosyncratic conceptions of story will be flattened.

Satin Island

by Tom McCarthy

Powells.com

A Strange and Methodical Thing, an interview with Tania James, author of The Tusk That Did The…

Tania James

Tania James approaches the narrative in her second novel with a twist. In The Tusk That Did The Damage, three voices braid together to tell the story of those involved in killing, preserving, and documenting the wild elephants of South India. Although all are remarkably developed and command their own distinct identity within James’ fluid pages, one character stands head and shoulders above the others — both figuratively and literally. It’s The Gravedigger, the menacing elephant to whom James gives voice in Tusk.

As James says in our conversation, The Gravedigger’s voice was always her starting point; the narrative spawned from there, wrapping in years of research and interviews conducted in India. In the Knopf offices at the Random House headquarters, I spoke to James about the novel’s germination. She wore a shirt spotted with panthers — she’s had her fill of elephants for now.

Meredith Turits: What did you start with: an idea or a voice?

Tania James: I started with a real-life elephant who would trample his victims and then bury them. Sometimes he’d carry the body on his back for a mile and protect the burial site. I just thought that was a really strange and methodical thing — it sounded like someone out of Tell-Tale Heart, a kind of macabre distortion, but also a tender act.

I thought, I want to write about this elephant. But then I was inhibited by the rule of anthropomorphizing: you don’t want to give human traits to animals. I tried to write from a first person perspective that was consciously anthropomorphizing and sort of fanciful, but it didn’t quite work with the other voices, because those are rather contemporary. Then I tried to write around the elephant, but I was concurrently doing this research on elephant behavior, and it seemed to me that there was a lot of potential in exploring elephant interiority.

I thought maybe I could use a close third person, but also jump into the minds of the keepers when I needed to and have a sort of flexible third person. That’s when things started getting fun for me.

MT: When the voice of the elephant actually revealed itself to you, how did the format on the page become apparent?

TJ: Nobody’s asked me that — that’s a good question. I was reading Hologram For The King, and that also had interesting spaces between paragraphs, and I just felt like that was a way into the elephant’s mind. It also reflects the distance between the humans and the elephants: there are pockets that we can understand, but there are also white spaces that we can’t.

MT: You said in another interview that you didn’t want to write an elephant that stood in for all elephants — that you wanted the elephant to be a uniquely informed elephant. Is that referring to a particular issue you see across fiction, where a writer tries to create a character representing all members of a set, in order to make a commentary?

TJ: There’s a lot of Indian-American fiction out there, so it’s not so much the case anymore, but it is the case that if you’re not writing about someone who’s been represented before, or who’s rarely been represented, they just tend to be viewed as a symbol or a stand-in for every member of that group. I didn’t want that to be the case here. I was trying to write an allegory. I assumed that people might bring that perception, because people have strong opinions and feelings about elephants. They just pull on your heartstrings in some way. You empathize with them. I just thought, This is the challenge: to create a character who has been shaped by experiences.

MT: You have a background in film, and I was wondering if you think that informs your writing — the way you construct visual scenes or landscapes?

TJ: I did documentary film and I probably have more experience in editing than anything else. Editing is more about paring down and cutting and cutting and cutting. If anything I learned from documentary has bled into my work as a writer, it’s that ‘kill your darlings’ mentality. This used to be a much longer book. I’ve had the help of editors, but I also have the sense myself — how to tighten up dialogue and let silence or a look convey the meaning.

MT: What do you think is markedly different about the two mediums?

TJ: Well, the obvious difference is that when you’re making a documentary, at least from the editorial perspective, you’re working with just a mountain of material, so you’re trying to see the beautiful shape that’s in a block of marble. You’re trying to pare down. In fiction you’re working from the ground up. Working in editing, there’s a narrative flow and structure. I didn’t learn about documentary storytelling in a regimented, three-act structure. It was in this more intuitive sense, focused on ‘what leads into the next?’ I think that’s how I approach structure in terms of the novel, also.

MT: Do you think the writer and the filmmaker have the same kind of responsibility going into a work? Are you dealing with the same moral weight?

TJ: I think that there are bigger responsibilities with documentary filmmaking, because you have responsibilities to your subjects and to your viewer, but then also a responsibility to your own artistic vision. I haven’t even watched this thing called Jinx, but there are these repercussions to what you’re showing. Are you going to harm the subject? How do you stay true to your vision without causing harm? That’s one of the questions that the filmmakers in my book grapple with.

But then also, in fiction, there can be a responsibility if you’re representing a group of people who don’t necessarily speak for themselves. I was trying to write from the perspective of a poacher in a fictionalized village but I still felt that there were people I’ve met who would be able to recognize details of their lives in that story, so I felt a responsibility to them. Even when these characters were doing questionable things, I wanted those things to be true to the world I was creating.

MT: How did the nature of your research or the way you perceived the project change when you actually went to India over the course of your several trips for the book?

TJ: I am a bit of a control freak and planner. This is why I would not be a great documentary filmmaker — you have to be able to just go with the flow and react to what the person’s saying. Partly because I was meeting people who were just so far outside my realm, I had a list of things I was supposed to ask, and I had preconceived notions of what these people were going to be like. For example, if I was going to meet a poacher, I had this anxiety about it — I didn’t want them to think I was exploiting them, which I was to a degree, and I didn’t want them to feel like I was judging them.

…they were just matter-of-factly telling me these really gruesome poaching stories.

So, I had these anxieties, which were unnecessary, because they were just matter-of-factly telling me these really gruesome poaching stories. In their minds, it wasn’t that big of a deal. It’s not that different from hunting a deer. I can see the logic of that — this majesty and sacredness that we’ve ascribed to elephants, our empathy to these animals as opposed to others, those are somewhat arbitrary decisions. My life is sanitized of animal danger. I have an urbanized perspective. I was bringing these notions to all of my interviews. It was a challenge for me to loosen up and to be able to have normal conversations and to let stories develop along the way.

MT: Did the interviews change the direction of the project in any significant way?

TJ: Definitely. I did a lot of writing from the elephant perspective, but then I stopped writing and did all of this field research in Kerala and Assam, and while I was researching, I was thinking, ‘I don’t know what I’m looking for, but hopefully I’ll know when I find it.’ I was gathering, gathering, gathering, and then went back and pulled what I wanted to pull, and developed a story from there. And then I went back to do research to firm up what I had already written.

MT: Did your writing habits change in different locations?

TJ: I was in Delhi when I was writing this, and I would wake up, make my tea, and sit at my desk. I’ve since had a baby, so that has messed with my chi. But if I’m in a different country, I’ll adjust to the time change and then I’m just back at the desk in the morning.

The great thing about travel for writers is you can’t help but observe…

The great thing about travel for writers is you can’t help but observe, and you’re always making mistakes, so you’re always very self-aware and aware of the world around you. I think it was a good time to go to Delhi for me because, although I don’t know if I realized it at the time, I needed a bucket a cold water on the head — a total immersion of something I was totally unfamiliar with.

MT: What were you reading during the period that the project was in gestation?

TJ: Many books! I’m thinking off the top of my head of The True History of the Kelly Gang by Peter Carey, which helped me think about the poacher’s voice. It’s really funny. It’s about an Australian outlaw around the turn of the century or the late 1800s, which you would think is a dry, historical story, but the voice is from the perspective of this outlaw, and it’s filled with colloquialisms that are irreverent and funny and it helped me think about writing a poacher with that kind of voice, because you automatically think that with this label of “poacher,” it’s going to be a dark and humorless and depressing story. And it is dark — but the poacher has a kind of dry humor. That’s what allowed me to access him as a person, instead of just telling the story as a type.

MT: How do you come to find the things that you are reading as you write? Because I know what we choose to read as we write is very precious, since we can either be choosing works that inform us, or to read specifically what does not.

TJ: I’m always curious as to what my friends are reading — but in Delhi I had no friends really, just my husband. He works on enforcement of environmental law, so he was reading a lot of nonfiction, so I tended to read a lot of nonfiction on those subjects. It’s how this book came to be, because I was reading Caroline Fraser’s Rewilding The World. She talks a lot about corridors and how to allow these spaces for large wildlife to exist. We have to have these corridors and pathways for them to move through. I started thinking about elephants. That book led me to another nonfiction book called Elephants on the Edge by G.A. Bradshaw, so it was almost a domino effect — one book mentions another, and you kind of get deeper and deeper in the hole.

MT: Has the nature of what you choose to read while working on different books changed over the years, as you’ve published more?

TJ: This is a good question. It makes me want to go back and remember what I read but it’s all such a blur now! It feels so far away. From my perspective now, it feels random. Part of being in Delhi, I didn’t always have the books that were coming out new here, and I would just wander into a bookstore and there’s The Hungry Tide by Amtiav Ghosh, which is also about similar man versus nature issues. I guess I was trying to look for books that my book might be in a conversation with.

MT: What is the strongest pull to the page for you? Is it the desire to see the work come together, or to finish, or because you have to be there?

TJ: It’s a voice that makes the writing fun for me. There’s a lot of time spent revising the same ten pages of the story over and over and over when you’re trying to find that voice and that spark, and sometimes it just comes from an odd thing that someone says. I remember that when I was writing that poacher section, he says something like, “I wouldn’t touch her with a boatman’s pole.” I was reading this interview with Michael Fassbender and he said, “I wouldn’t touch her with a ten-foot pole,” and I thought, That’s a cool idiom, but how would Manu say that? What metaphors would be at his fingertips? And “boatman” occurred to me, so I had him say, “I wouldn’t touch her with a boatman’s pole,” and something about that snippet of dialogue made him come alive for me and also made him a pleasure to write. Especially with material that’s a heavy subject matter like this, it was important to find voices that were sustaining me in a certain way.

Recommended Reading opens its doors for submissions today, April 1, for one month only.

Recommended Reading is the weekly fiction magazine of Electric Literature, and with 75,000 subscribers in just over two years, it’s the fast growing literary magazine around. Every four weeks, we publish a piece of original fiction: two-thousand to eight-thousand-words long, with no other constraints except quality. We’re looking for short stories that are bold, affecting, and presented with a distinct style. But the best way know what we want is to dig into our extensive archives.

Recommended Reading launched in May 2012 and has since published 150 issues, including original work by Stephen Millhauser, A.M. Homes, Helen DeWitt, Jim Shepard, Ben Marcus, and Mary Gaitskill. We also pride ourselves in championing new voices, and have been early supporters of writers such as Maggie Shipstead, Rebecca Schiff, Diane Cook, and Matt Sumell.

Recommended Reading is digital-only, available for free online and in ePub, and for $1.99 and issue on Kindle and through ourApple Newsstand App. We pay writers $300 per story. Simultaneous submissions are fine, but please submit only one story at a time.

To submit, click here.

Wifey Redux

by Kevin Barry

This is the story of a happy marriage but before you throw up and turn the page let me say that it will end with my face pressed hard into the cold metal of the Volvo’s bonnet, my hands cuffed behind my back, and my rights droned into my ear — this will occur in the car park of a big-box retail unit on the Naas Road in Dublin.

We were teenage sweethearts, Saoirse and I. She was exquisite, and seventeen; I was a couple of years the older. She was blonde and wispily slight with a delicate, bone-china complexion. Her green eyes were depthless pools — I’m sorry, but this is a love story — and I drowned in them. She had amazing tits, too, small but textbook, perfectly cuppable, and an outstanding arse. I mean literally an outstanding arse. Lasciviously draw in the air, while letting your tongue loll and eyes roll, the abrupt curve of a perfect, flab-free butt cheek: she had a pair of those. It was shelved, the kind of arse my father used to say (in wry and manly sidemouthing) you could settle a mug of tea on. Also, she had a raunchy laugh and unwavering taste and she understood me. In retrospect, with the due modesty of middle age, I accept there wasn’t that much to understand. I was a moderately poetical kid, and moderately rebellious, but diligent in my studies all the same, and three months out of college I had a comfortable nook secured in the civil service. We got married when Saoirse was twenty-one and I was twenty-three. That seems impossibly young now but this was the late eighties. And we made a picture — I was a gorgeous kid myself. A Matt Dillon type, people used to say, which dates me. But your dates can work out, and we were historically lucky in the property market. We bought a fabulous old terrace house with a view to the seafront in Dun Laoghaire. We could lie in bed and watch the ships roll out across Dublin Bay, all lighted and melancholy in the night. We’d lie amid the flicker of candles and feast on each other. We couldn’t believe our luck.

We had bought the place for a song. Some old dear had died in it, and it had granny odors, so it took a while to strip back the flock wallpaper and tan-colored linoleum, but it was a perfect dream that we unpeeled. The high ceilings, the bay windows, the palm tree set in the front garden: haughty Edwardiana. We did it up with the sweat of our love and frequently broke off from our DIY tasks to fuck each other histrionically (it felt like we were running a race) on the stripped floorboards. The house rose 35 percent in value the year after we bought it. It has since octupled in value.

Those early years of our marriage were perfect bliss. Together, we made a game out of life — everything was an adventure; even getting the tires filled, even doing the groceries. We laughed a lot. We tiddled each other in the frozen foods aisle. We bit each other lustfully in the back row of the pictures at the late show, Saturdays. We made ironical play of our perfect marriage. She called me “Hubby” and I called her “Wifey.” I can see her under a single sheet, with her bare, brown legs showing, and coyly in the morning she calls to me as I dress:

“Hubby? Don’t go just yet… Wifey needs… attendance.”

“Oh but Wifey, it’s past eight already and…”

“What’s the wush, Hubby?”

Saoirse could not (and cannot) pronounce the letter R — a rabbit was a wabbit — which made her even more cute and bonkable.

I rose steadily in the civil service. I was pretty much unsackable, unless I whipped out a rifle in the canteen or raped somebody in the photocopier room. Hubby went to work, and Wifey stayed at home, but we were absolutely an equal partnership. Together, in slow-mo, we jogged the dewy, early-morning park. Our equity by the month swelled, the figures rolling ever upwards with gay abandon. The electricity of our enraptured smiles — ! ! — could have powered the National fucking Grid. Things just couldn’t get any better, and they did.

In the third year of our marriage, a girl-child was born to us. Our darling we named Ellie, and she was a marvel. She was the living image of her beautiful mother, and I was doubly in love — I pushed her stroller along the breezy promenade, the Holyhead ferry hooted, and my heart soared with the black-backed gulls. Ellie slept eight hours a night from day one. Never so much as a teething pain. A perfect, placid child, and mantelpiece-pretty. We were so lucky I came to fear some unspeakable tragedy, some deft disintegration. But the seasons as they unrolled in south County Dublin were distinct and lovely, and each had its scheduled joys — the Easter eggs, the buckets and spades, the Halloween masks, the lovely tinsel schmaltz of Crimbo. Hubby, Wifey, Baby Ellie — heaven had come down and settled all about us.

If, over the subsequent years, the weight of devotion between Saoirse and I ever so fractionally diminished — and I mean tinily — this, too, I felt, was healthy. We probably needed to pull back, just a tad, from the obsessive quality of our love for each other. This minuscule diminishing was evident, perhaps, in the faint sardonic note that entered our conversation. Say when I came home from work in the evening, and she said:

“Well, Hubby?”

With that kind of dry up note at the end of a sentence, that sarcastic stress? And I would answer in kind:

“Well, Wifey?”

Of course the century turned, and early middle age slugged into the picture, and our arses dropped. Happens. And sure, I began to thicken a little around the waist. And yes, unavoidably, the impromptu fucking tends to die off a bit when you’ve a kid in the house. But we were happy still, just a little more calmly so, and I repeat that this is the story of a happy, happy marriage. (Pounds table twice for emphasis.)

Not that I didn’t linger sometimes in memory. How could I not? I mean Saoirse, when she was seventeen, was… erotic perfection. I could never desire anyone more than I did Saoirse back then. It was painful, almost, that I had wanted her so badly, and it had felt sinful, almost (I was brought up Catholic), to be able to sate my lust for her, at will, whenever I wanted, in whatever manner I wanted, and for so many ecstatic years.

I’m not saying she hasn’t aged well. She remains an extremely handsome woman. She has what my mother used to call an excellent hold of herself. Certainly, there is a little weight on her now, and that would have seemed unimaginable on those svelte, fawnish, teenage limbs, but as I have said, I’m no Twiggy myself these days. We like creamy pasta dishes flecked with lobster bits. We like ludicrously expensive chocolate. The kind with chilli bits baked in and a lavender dusting. And yes, occasionally, in the small hours, I suffer from… weeping jags. As the ships roll out remorselessly
across Dublin Bay. And fine, let’s get it all out there, let’s — Saoirse has developed a Pinot Grigio habit that would knock a fucking horse.

But we are happy. We love each other. And we are dealing.

Because we married so young, however, and because we had our beautiful Ellie so early in life, we have that strange sensation of still being closely attuned to the operatics of the teenage world even now as our daughter has entered it. It’s almost as if we never left it ourselves, and we know all the old steps of the dance still as Ellie pelts through that skittle sequence of drugs, music, fashion, melancholia, suicidal ideation and, well, sex.

The difficult central fact of this thing: Ellie is now seventeen years old and everything about her is a taunt to man. The hair, the coloring, the build. Her sidelong glance, and the hoarseness of her laugh, and the particular way she pokes the tip of her tongue from the corner of her mouth in sardonic dismissal, and the hammy, poppy-eyed stare that translates as:

“Are you for weal?”

No, she can’t say her Rs either. And she wears half-nothing. Hot pants, ripped tights, belly tops, and she has piercings all over. A slash of crimson lippy. Thigh-high boots.

Now understand that this is not about to get weird and fucked up but I need to point out that she is identical to Saoirse at that age. I am just being brutally honest here. And I would plead that the situation is not unusual. It’s just one of those things you’re supposed to keep shtum about. Horribly often, our beautiful, perfect daughters emerge into a perfect facsimile of how our beautiful, desirable wives had been, back then, when they were young. And slim. And sober. There is a horrid poignancy to it. And to even put this stuff down on paper looks wrong. There are certain people (hello, Dr. Murtagh!) who would see this and think: your man is bad again. So I should just get to the story of how the trouble started. And, of course, it concerns my hatred for the boys who flock around my beautiful daughter.

Oh, trust me. Every hank of hair and hormones with the price of a lip ring in the borough of Dun Laoghaire has been panting after our Ellie. But she flicked them all away, one after the other, nothing lasted for more than an innocent date or two. Not until young and burly Aodhan McAdam showed up on the scene.

Even saying the horrible, smug, hiccupy syllables of that fucker’s name makes me retch. He wasn’t her usual type, so immediately I was worried. The usual type — so far as it had been established — was black-clad, pale-skinned, basically depressed-looking, given to eyeliner and guitar cases, Columbine types, sniper material, little runts in duster coats, addicted to their antihistamine inhalers, self-harmers, yadda-yadda, but basically innocent. I knew by the way she carried herself that she did not succumb to them. A father can tell — although this is another of the facts you’re supposed to keep shtum about. But then — hear the brush and rattle of doom’s timpani drums — enter Aodhan McAdam.

“Howya doin’ boss-man?”

This, quickly, became his ritual greeting when I answered the door, evenings, and found him in his track pants and Abercrombie & Fitch polo shirt on the checkered tiles of our porch. He typically accompanied the greeting with a pally little punch on my upper arm and a big, toothy grin. He was seventeen, six two, with blonde, floppy hair, and about eight million quids’ worth of dental work. Looked like he’d been raised on prime beef and full-fat milk. Handsome as a movie star and so easy in his skin. One of those horrible, mid-Atlantic twangs — these kids don’t even sound fucking Irish any more — and broad as a jeep; I had no doubt he could beat the shit out of me. Which meant that I would have to surprise him.
I knew after the first two weeks that they were fucking. It was the way she carried herself — she was little-girl no more. And what did her mother do about this? She went and fetched another bottle of Pinot Grigio from the fridge.

“Saoirse, we need to talk about what’s going on back there?”

Wrong, I know, you’re supposed to leave these things be. But I couldn’t… I couldn’t not bring it up. It was poisoning me.

Saoirse and I were in the front den. We keep the bigger TV in there, and the coffee table we commissioned from the Artisans-with-Aids program, and a retro fifties couch in a burnt-orange shade that our shapes have settled into — unpleasantly, it makes it look like we have arses the size of boulders — and stacks upon stacks of DVDs climb the
walls, just about every box set yet issued.

“I suppose you know,” I said, “that they’re, well… you know.”

“Don’t,” Saiorse said.

I sighed and left the den. The way it worked, Ellie had the use of the sitting room down back of the ground floor; no teenager wants to sit with her parents. She’d had a decorator in — it was got up in like a purple-and-black scheme — and she had a really fabulous Eames couch we’d got at auction for her sixteenth, and I went down there to check on Aodhan and herself. The shade was down, and they were watching some hip-hop crap on satellite, and they were under a duvet. This was a summer evening.

“Yo, Popsicle,” Ellie said.

“Hey,” Aodhan McAdam said, and leered at me.

I unleashed the coldest look I could summon and tried to say something and felt like I had a mouthful of marbles. I went back to the front den. I settled into the massive arse shape on my side of the couch.
“Do you realize,” I said, “that they’re under a duvet back there?”

“Mmm-hmm?”

Saoirse was watching a Wire episode with crew commentary and was nose deep in a bucket-sized glass of Pinot Grigio. She drank it ice-cold — I could see the splinters of frozen crystals in there.

“I mean what the fuck are they doing under a duvet? It’s July!”

She turned to me, and smiled benignly.

“I think we can pwesume,” she said, “that she’s jackin’ him off.”

“Lovely,” I said.

“Ellie’s seventeen,” she said. “The fuck do you think she’s
doing?”

“That fucking little McAdam bastard…“

“Not so little,” Saoirse said. “And actually he’s kinda hot?”

You’re supposed to just deal. But my brain would not stop whirring. I lay there that night in bed, and I was under siege. Random images came at me which I will not describe. I was nauseous. I knew it was a natural thing. I knew there was no stopping it. And as the morning surfaced on the bay, I tried to accept it. But I got out of the bed and I felt like I’d fought a war. I thought, maybe it’s better that he’s a rugby type rather than one of the sniper types. At least maybe he’s healthier.

That evening, after work, as I took my walk along the prom, with the cold sea oblivious, I saw them: the rugby boys. They hang out by a particular strip of green down there, sitting around the rain shelter, or tossing a ball about, and chortling all the time, chortling, with their big shiteater grins and testosterone. They all have the floppy hair, the polo shirts in soft pastels, the Canterbury track pants, the mid-Atlantic twangs. Aodhan McAdam was among them, and he saw me, and grinned, and he made a pair of pistols with his fingers and fired them at me.

Ka-pow, he mouthed.

Ha-ha, I grinned back.

He was no doubt giving the rest of the scrum a full account about what went on beneath the duvet. Of course he was! And later he was back for more. Bell rings about ten: orthodontic beam on porch. In fact, he appeared to have pretty much moved into the house. Every night now he was among us.

“Babes!” she squealed, and she raced down the hallway, and leapt onto him, and right there — right in front of me! — he cupped her butt cheek.

Now often, between box-set episodes, Saoirse and I hang in the kitchen — it’s maybe our fave space, and it’s tricked out with as much cutesy, old-timey shit as a soul could reasonably stomach. The Aga. The stoneware pots from Puglia. The St. Brigid’s Cross made out of actual, west of Ireland reeds for an ethnic-type touch. We snack hard and we just, like, sway with the kitchen vibe? But now Ellie and Aodhan were invading. Eighteen times a night they were out of the back room and attacking the fridge. Saoirse just smiled, fondly, as they ploughed into the hummus, the olives, the flatbreads, the cold cuts, the blue cheese, the Ben & Jerry’s, the lavender-dusted chocolate from Fallon & Byrne. I watched the motherfucker from the island counter — the way he wolfed the stuff down was unreal.

“Do they feed you at your own place at all, Aodhan?” I said, wryly.

He chortled, and he took out a six-pack of Petit Filous yoghurts, and he made for the couch-and-duvet in my back room. He mock-punched me in the gut as he passed by.

“This ol’ boy’s runnin” on heavy fuel,” he said, and he mussed my hair, or what’s left of it.

Later, in the den, I turned to Saoirse:

“He’s treating me like a bitch,” I said.

She was freezeframing bits of The Wire that featured the gay killer Omar because she had a thing for him. She had lately been waking in the night and crying out his name.

“So what are you going to do about it?” she said.

“I know they’re fucking,” I said. “I can just… smell it?”

“You need to talk to Doctor Murtagh about this,” she said.

“Meaning?”

“Meaning cognitive fucking thewapy,” she said. “Meaning medication time. Meaning this is looking like a bweakdown-type thing again?”

All over the house, I felt like I could hear him… chomping? You know sometimes, in a plane, when your ears are weird, and they flip out the food trays, and you chew, and you can hear the jaw motions of your own mastication in a loud, amped, massively unpleasant way? It was like I was hearing that all over the house —

Aodhan!

Chomping!

Also, he was using the downstairs loo, under the stairs, and of course he pissed like a prize stallion. Saoirse thought it was all marvellous, and she talked increasingly about how hot she thought he was, as hot almost as Omar. We’re talking a lunk but angelically pretty — like a beefy choirboy that could mangle a bear? Fucking hideous.

Then summer thickened and there was a heat wave. We garden, and we have a terrific deck — done out with all this Tunisian shit we bought off the lepers in Zarzis — overlooking the back lawn. During the heat wave, Aodhan and Ellie took over the deck space. I watched from the kitchen — I was deveining some king prawns while Saoirse expertly pestled a coriander-seed-and-lime-zest marinade. Ellie lay face down on the lounger, in a string bikini, and he sat on the lounger’s edge, and with his big sausagey fingers he untied the top of the bikini, and pushed the straps gently back. Then he shook the lotion bottle, rubbed a squirt of it onto his palms, and began to massage it in, super-slow, like some fucking porno setup. Through the open window I heard her throaty little moans, and I saw the way she turned to him, adoringly, and he bent down and whispered to her, and she squealed.

“Next thing,” I said to Saoirse, “they’re actually going to have it off in front of us.”

“What is she, a nun?”

“I’ve had enough of this,” I said.

I flung the prawns into the Belfast sink and I stormed out of the house. I bought cigarettes for the first time in six months and lit one right there on the forecourt of the Topaz. I smoked, and I took off along the prom. I passed the rugby boys’ rain shelter, and it was deserted, and I saw that there was an amount of graffiti scrawled around the back wall of the shelter. I went to have a closer look.

Nicknames, stuff about schools-rugby rivals, so-and-so loves such-and-such, or so-and-so loves ???, but then, prominently, this:

ELLIE P THE BLO-JOB QUEEN
B-L-O! And P! That they had used my surname’s initial for emphasis, the P of my dead father’s Prendergast! I went and power-walked the length of the pier and back three times. A glorious summer evening, and busy on the pier, with friends and neighbors all about — but I just ignored them all; I pelted up and down, with my arms swinging, and I ground my teeth, and I cried a little (a lot), and I smoked the pack.

I could see the neighbors thinking:

Is he not great again?

Later, in the den:

Aodhan had gone home, and I could hear the thunk, shlank, whumpf of her music from upstairs, and Saoirse had gone into her keeping-an-eye-on-me mode; she was all concerned and hand-holdy now.

“I think we can pwesume, hon,” she said, “that he didn’t, like, white it himself?”

“A gentleman!” I said. “But even so he’s been mouthing off, hasn’t he? And it doesn’t bother you at all that she’s…”

I couldn’t finish it.

“She’s seventeen, Jonathan.”

“I say we front her.”

“This is nuts. And say what? That she shouldn’t be giving blow jobs?”

“Please, Saoirse…”

“I was giving blow jobs at seventeen.”

“Congratulations.”

“As you well know.”

“But I wasn’t mouthing off about it, was I? I was keeping it to myself!”

“Just leave it, Jonathan…”

Again that night I hardly slept. I developed this incessant buzzing sound in my head. It sounded like I had a broken strip light in there. More images came at me, and you can picture exactly what they were:
Ellie, descending.

And big Aodhan McAdam — ! — grinning.

The next morning I went to her room. Fuck it, I was going to be strong. There was going to be a conversation about Respect. For herself, for her home, for her parents. For duvets. I knocked, crisply, twice, and I pushed in the door, and I could feel that my forehead was taut with self-righteousness (or whatever), and I found her in a sobbing mess on the bed.

Suicidal!

Ellie’s tears nuke my innards.

“Oh, babycakes!” I wailed. “What is it!”

I threw myself on the bed. So much for the Respect conversation. Aodhan, it turned out, had taken his oral gratification and skedaddled. It was so over.

She was inconsolable. We had the worst Saturday morning of all time in our house. Which is saying a great deal. She was between rage and tears and when she is upset she behaves appallingly, my angel. It started right off, at breakfast:
A sunny Saturday, heaven-sent, in peejays — it should have been perfection. Saoirse was sitting at the island counter, trembling, as she ate pinhead porridge with acai fruit and counted off the hours till she could start glugging back the ice-cold Pinot Grigio. I was scraping an anti-death spread the color of Van Gogh’s sunflowers onto a piece of nine-grain artisanal toast. Ellie was vexing between flushes of crimson rage and sobbing fits and making a sound like a lung-diseased porpoise.

“Oh please, Ell?” I said. “It’s only been, like…”

“Eleven weeks!” she cried. “Eleven weeks of my fucking life I gave that dickwad!”

“Look, baby, I know it doesn’t seem like it now? But you’ll get over this and it might work out for the best and…”

And maybe the blow-job rep will start to fade, I didn’t say.

“What’s this?” she said.

She held a box of muesli in her hand.

“It’s a box of muesli,” I said.

“No it is not,” she said.

Admittedly, it was an own-brand line from a mid-range supermarket — a rare anomaly.

“Ah, Ellie, it’s fine, look, it’s actually quite tasty…”

She turned the box upside down and emptied the muesli onto the limestone flags that had cost peasants their dignity to hump over from County Clare.

“This is not actual ceweal,” she said. “This is, like, twibute ceweal?”

She began with her bare feet to slowly crush the muesli into the flagstones. Deliberately grinding up and down, with a steady rhythm to her step, like a French yokel mashing grapes, or a chick on a Stairmaster set to a high gradient.

“I want him back,” she said.

“Ah, look, Ellie, I mean…”

“I want Aodhan back.”

She came across the flags and caught me by the peejay lapels.

“And I want him back today!”

I fell to my knees and hugged her waist.

“But this is madness!” I cried.

Generally speaking, in the run of a life, when you find yourself using the expression —

“But this is madness!”

— you can take it that things are not going to quickly improve. It was half ten in the morning but Saoirse didn’t give a toss any more and she went to the fridge and took the cork from a half-drunk bottle of Pinot Grigio. With her teeth.

So! The next development!

I was sent to have a heart-to-heart with Aodhan McAdam. He had, of course, switched his phone off — they are by seventeen experts in avoidance tactics. And Ellie could not and would not lower her dignity by going to find him herself. And Saoirse hadn’t left the house in eleven months, except for Vida Pura™ blood transfusions, Dakota hotstone treatments, and Beach Body Bootcamp (abandoned). So it was down to me. I was to find out his mood, his motives, his intentions. Essentially, I was to win him back. Saoirse was as intent on getting him back as Ellie. He was male youth, after all, and she liked having that stuff around the house.

It turned out that McAdam worked a Saturday job. Oh right, I thought, so he’s going with the humble shit — a Saturday job! He worked at this DIY warehouse on the Naas Road. I got in the Volvo and rolled. I played a motivational CD. N’gutha Ba’al, the Zambian self-confidence guru, told me in his rich, honeyed timbre that I had a warrior’s inner glow and the spirit of a cheetah. I cried a little (a lot) at this. I felt husky and brave and stout-hearted but the feeling was fleet as the light on the bay. Traffic was scant but scary. Cars edged out at the intersections in abrupt, skittery movements. Trucks loomed, and the sound of their exhausts was horrifyingly amplified. Pedestrians were straight out of a bad dream. Everybody’s hair looked odd. I drove through the south side of the city, tightened my grip on the wheel and tried to remember to breathe in the belly. The Volvo was grinding like an assassin as I pulled into the Do-It-Rite! car park. I tried to play the thing like I was an ordinary Joe, a Saturday-man just out on an errand, but I knew at once I wanted to climb up the store’s signage and rip down that exclamation mark

!

from Do-It-Rite!

I stormed — stormed! — towards the entrance but that didn’t work out, as the automatic doors did not register my presence as a human being. So I had to take a little step back and approach the doors again — but still they would not part — and I reversed three steps, four, and approached yet again, but still they would not part, and in my shame I raised my eyes to the heavens, and I saw that the letters of the Do-It-Rite! signage were so flimsily attached, with just brackets and screws, and this too was an outrage — the shoddiness of the fix. Then a Saturday-man approached and the doors glided open and I entered the store in the slipstream of his normalcy.

I hunted the aisles for Aodhan McAdam. They were shooting day-for-night in the vast warehouse space, it was luridly strip-lit, and I prowled by the paint racks, the guttering supplies, the mops and hinges, the masonry nails, the rat traps and the laminate flooring kits, and some cronky half-smothered yelps of rage escaped my throat as I walked, and every Saturday-man I passed did a double take on me. The place was the size of a half-dozen soccer pitches patchworked together, and the staff wore yellow dungaree cover-alls, so that they could be picked out for DIY advice, and eventually I saw up top of a set of cover-alls the blond, floppy hair, the megawatt grin and the powerful jaw muscles, those hideous chompers.

“Aodhan!”

The grin turned to me, and it was so enormous it dazzled his features to an indistinctness, I saw just that exclamation mark

!

from the Do-It-Rite! — but when he focused, the grin died, at once, right there.

“Jonathan?”

I went to him, and I smiled, and I took gently his elbow in my hand.

“Can we talk, Aodhan?”

“Sure, man, I mean…”

Now it is a rare enough occurrence in contemporary life that the occasion presents itself for truly felt speech. We are trapped — all of us — behind this glaring wash of irony. But in the quietest aisle of the Do-It-Rite! that Saturday&msadh;drylining accessories — as Aodhan McAdam and I squatted discreetly on our haunches, I spoke honestly, and powerfully, and from the heart.

“Listen,” I said, “I know about the blow jobs. That’s perfectly natural. I was getting blow jobs myself when I was seventeen. I wasn’t broadcasting the fact, and I could spell, but I was…”

He tried to rise from his haunches, he tried to get away, but I had this strange animal strength (your eyebrows ascend, Dr. Murtagh), and I kept his bony elbow clamped in my claw, and I lasered my eyes into his, and he was scared enough, I could see that.

I said:

“Ellie Prendergast, or should I say Ellie P., is the most beautiful girl in this city. She is an absolute fucking angel. If you hurt her, I will kill you. I’m telling you this now so you can give yourself a chance.”

I slapped him once across the face. It was a manic shot with plenty of sting to it. I told him of youth’s fleeting nature. I told him he didn’t realize how quickly all this would pass. I told him how it had been for me. I spoke of the darknesses that can so quickly seep between the cracks of a life. I told him of the images I had witnessed and voices I had heard. He began to cry in fear. I told him how my Wifey had been plagued by evil faeries in the night — oh it was all coming out! — and how my Ellie was to me a deity to be worshipped, and I would protect her with my life.

“I have type 1 diabetes!” he sobbed. “I can’t deal with this
shit!”

Oh but I laid it on with a motherfucking trowel. I brought him to the pits of despair and showed him around. My threats were veiled and made stranger by the serenity of my smile. I said I expected him on the porch at eight o’clock, in his track pants and his Abercrombie & Fitch polo shirt. But before that he would have a job to do. We rose from our haunches and I caught the scruff of his neck and I led him along the aisles to the paint racks — Saturday-men watched, staff in yellow cover-alls watched, but no one approached us — and I showed him the white paint, how much of it there was and how cheap it was, and I explained I’d be pulling a spot check on the rain shelter at seven o’clock, sharp.

I let go of him then. I sucked up the last of my calm, and I said:

“Listen, Aodhan, we’re doing a shopping run this afternoon… Can I fetch anything in particular? You two go for that barbecue salmon in the vac-packs, don’t you?”

I left him ashen-faced and limp. I prowled the aisles some more and now these hot little barks of triumph came up as I walked. The Saturday-men avoided my eyes, and they scurried from my path, and I barked a little louder. As I’m here, I thought, why not pick up a couple of things?

So I bought an extendable ladder and a claw hammer. The automatic doors registered my presence at once and I was let outside to the sun-kissed afternoon. I propped and extended the ladder against the front of the store and I climbed with the claw hammer hanging coolly in my grip. It took no more than a half-dozen wrenches to loose the exclamation mark

!

from the Do-It-Rite and carefully I placed it under my arm — it was light as air — and I descended. I walked across the car park. I placed it carefully on the tarmac in front of the Volvo — my intention was to drive over it and smash it to pieces — but then I thought, no, that would be too quick. So I got down on my knees and I started to tap gently with the hammer at the blue plastic of the exclamation mark

!

until it began to crack here and there, and tiny shatter lines appeared, and these joined up, piece by piece, until the entire surface of the

!

had become a beautiful mosaic in the blue of the sign, like the trace of tiny backroads on an old map — marking out lost fields, lost kingdoms, a lost world — and I was serene as a bird riding the swells of morning air over those fields.

The squad car appeared.

Paramount to Launch Marvel-Style Dickensian Film Franchise With Action Flick “Tiny Tim”

ETA: April Fools!

In the ever-interconnected cinematic money-making game, Paramount pictures recently revealed its plans to compete with the likes of Disney’s “Star Wars” films and the complex Marvel Cinematic Universe. Starting this Christmas, Paramount will release the action film Tiny Tim, which is only the first in a new mega-franchise linking characters from Charles Dickens novels into one unified cinematic franchise.

In the press release reportedly just leaked from a Paramount insider, the plot of Tiny Tim is implicitly said to be a “re-imagining/sequel to A Christmas Carol (the novel.)” A report at The Latino Review also has released a descriptions of the teaser-trailer for Tiny Tim. From their article:

“Viewers will see a bedraggled Englishman in Victorian-era garb being beaten by Victorian-era thugs. The thugs say “Mr. Scrooge wants ‘is money,” as the helpless man pleads for mercy. A jump-cut establishes the shadowed-face of a young man wearing a newsie cap and smoking a Victorian-era cigarette. This man says, “leave ‘im alone.” The thugs turn and the man (now revealed to be leaning on a crutch) flies into Crouching-Tiger-Hidden-Dragon action, dispatching the gang with a combination of martial arts and crutch-thwacking. When the dust clears, we see the man’s face (most likely James McAvoy) as he utters his the words “Suck My Dickens.” The screen then goes black for a moment until four words appear on the screen(each punctuated by a bullet sound effect): GOD BLESS US EVERYONE. After a large explosion, the words TINY TIM/Christmas 2015 appear.”

Tiny Tim

The new face of Tiny Tim?

The Paramount press release seems to confirm the Latino Review rumor and that Tiny Tim is indeed a grown- up version of the boy Tiny Tim from A Christmas Carol, only this time, cast as a kind of John McClain vigilante. Both the press release and the leaked trailer description corroborate the idea that Tiny Tim has two distinct catchphrases; “Suck my dickens” for the redband trailer and “God Bless Us Everyone,” for general release. The press release reportedly goes on to detail the fact that characters from future Dickensverse films will make either cameo appearances featured in Tiny Tim or will feature in a post-credits sequence. Specifically, one member of Tiny Tim’s gang will be the Artful Dodger, rumored to be played by Jack Gleeson of Game of Thrones fame. This gestures at a possible stand-alone film featuring either the Artful Dodger and Fagin, which could, of course, serve as a full-on-prequel to an Oliver Twist film. Some fans are already theorizing that this ambitious plan may eventually result in a full on team-up in which Pip (from Great Expectations) Fezziwig (from A Christmas Carol) , Sidney Carton (from A Tale of Two Cities) and Oliver join forces to battle a ponzi scheme perpetrated by Little Dorrit, Fagin and the now-evil, Artful Dodger. (Which all would of course be in line with the seldom-read Dickens sequence of stories, later collected under the title Full-On Team Up) However, some fans feel the connection between the stand-alone Fezziwig film is unlikely, since it’s thought to be a modern-day Wolf of Wall Street– film in which Jack Black plays a drunken Fezziwig who actually victimizes a version of Scrooge who is played by Jonah Hill.

Of course, because the all the Dickens heroes are in the public domain, Paramount’s plans for the Dickensverse is totally unconnected to the Wes Anderson reboot of A Christmas Carol, which will feature only actors from The Royal Tenenbaums, but this time, as their obvious Dickensian counterparts. (I.E. Gene Hackman will play Scrooge, Owen Wilson will play Jacob Marley, Gwyneth Paltrow as the Ghost of Christmas Past, etc.)

And while neither the press-release link nor the Latino Review report can be confirmed, look for the 15-second teaser trailer of Tiny Tim later this week.

Who do you hope plays The Ghost of Christmas Future in Tiny Tim?

George R. R. Martin Has “Narrative Breakthrough” after Binge Watching LOST

ETA: April Fools!

Recently, the creators of HBO’s Game of Thrones officially confirmed that the TV show will be spoiling events in the as yet unwritten final two A Song of Ice and Fire novels. However, fans of the books just got a new shot of hope that book six, The Winds of Winter, will be released soon! Yesterday, author George R. R. Martin took to his Livejournal to announce he had a “narrative breakthrough” that will help him finish the beloved fantasy series this year:

It all fell together when I was binge watching LOST. That show is brilliant from start to finish, obvi, but I think we can all agree the most exciting part is the time traveling in season 4. Once I saw that it all clicked into place! See, fans have been asking me why I keep writing Dunk and Egg tales instead of finishing ASOIAF. But after watching LOST I thought: why not combine the two!

Martin refused to say which characters will be time traveling to the era of Dunk and Egg, but gave a few hints:

All I’ll say is that Bran can already time travel through Weirwood trees, Melisandre is working some series mojo up north, and Jon Snow — spoiler alert — warged into someone you’d never guess.

Martin then went on to discuss the appeal of Dunk and Egg, calling it “the story I truly wanted to tell”:

Dunk (aka Duncan the Tall) is fastidious and uptight while Egg (aka Aegon) is easygoing and slovenly. They are the original Odd Couple! I think I’m pioneering a new fictional form here: the circumstance comedy novel or CirCom novel.

Responding to a comment from Livejournal username CerseiQueenBitch2, who asked “NOOOO!! Does this mean everything is some fucking dumb heaven shit?” Martin said:

I won’t spoil the ending, but let’s just say things aren’t quite what they seem in the “island” of Westeros. ?

Electric Literature and Catapult.co Launch New Series of Writing Workshops and Classes

Can writing be taught? Fuck yeah! Today, we’re announcing Electric Literature and Catapult.co’s freshly-minted writing classes. Our goal is to connect emerging and unpublished writers with some of the most dynamic and interesting literary writers in NYC, and create the kind of writing classes we wish we could take ourselves.

Let James Hannaham, author of the “unforgettable new novel” Delicious Foods, be your guide in a six-week master class beginning on April 27th. Find the theme in your writing with “rising star” Sarah Gerard beginning on May 14th. Or, revise and bring your draft new life as Ted Thompson shares his “great gift for storytelling” with you beginning on June 1st. All classes are held in NYC.

Applications are now open, and space is limited.

Master Class: Elements of Short Fiction

led by James Hannaham

Application deadline: April 20

Advanced Fiction Workshop: Finding Your Theme

led by Sarah Gerard

Advanced Fiction Workshop: Revise, Revise, Revise

led by Ted Thompson

Our workshops are open to aspiring writers of all stripes — we ask only that you love to write and love to read, and that you’re enthusiastic about engaging with a community of peers in a respectful and fun environment. MFA grads are welcome; so are MBA-holders/chefs/road workers/violinists/underwater basket weavers. Whether you’re polishing up your third novel, preparing work for submissions to journals or graduate programs, or are simply interested in finessing your craft, you’re welcome to join us.

All classes will be held in our shiny new Manhattan offices, located in the Flatiron district. Most workshops will take place in the evening or on weekends, and post-class carousing is encouraged. Every class will feature a workshop component and one-on-one meetings with instructors.

We’ll be adding more classes throughout the summer, including weekend intensives, craft seminars, and writing bootcamps.

Spies Like Us: A Conversation With James Hannaham and Jennifer Egan

He’s a provocative novelist with a laser-sharp wit and she’s a near world-famous writer you’ve probably heard of once or twice. But what do Jennifer Egan and James Hannaham have in common? It turns out not only are they old friends, but also the literary equivalent of old war buddies; having been in the trenches of writerly struggles together since way back.

delicious foods

For the release of his new novel — Delicious Foods — Jennifer Egan interviewed James Hannaham at Greenlight Bookstore on March 23rd. And before that event, I sat down with James and Jennifer at his Brooklyn apartment for a more intimate conversation. In it, the two authors offered unique insight into the role history can play on literature, how they manage their expectations of the world of letters, and the humble beginnings of their unique and super-powered friendship.

Ryan Britt: You blurbed James’s first book. How did you guys meet? What’s the origin of the friendship?

Jennifer Egan: It’s a long time now. We met through my husband — then boyfriend — who directed plays. How did you meet David, James?

James Hannaham: I met David [Herskovits] because he did a directing seminar at Yale that John Collins was in.

Egan: Was that when he did Spring Awakening or was that separate?

Hannaham: It was separate, I feel like Spring Awakening was earlier. This was in 1990–1991. And John Collins was in that…John and I moved to New York around the same time and started Elevator Repair Service not long after that. Which started because we were both working on Titus Andronicus.

Britt: So it was theatre that brought you together?

Egan: Yes! Though I wasn’t part of theatre, it was my boyfriend.

Hannaham: And I wasn’t doing too much at that theatre. I was standing outside and guarding these microphones.

Egan: They performed a lot on the street! The neighborhood was pretty crazy then. They were performing in this window of this storefront on Ludlow — which is hard to believe now that that could have been dangerous —

Britt: Right, now every window on Ludlow has a performance.

Egan: Or expensive shoes. But…yeah…that is how I know James. Though it was quite awhile before I knew that you [James] even wrote fiction. I wonder how we had that conversation. Were you writing fiction at the time?

Hannaham: What happened was that I’d gotten job at the Voice in the design department and had started writing articles and there seemed to be a lot of social pressure for your next “thing” to be a book.

Egan: Those were the days.

Hannaham: In the environment at the Village Voice it seemed like next step, after writing reviews was to write a book about something, a non-fiction book if you were a critic. But I knew I didn’t want to write non-fiction. I had no idea what I would write. So I kind of took a stab at writing fiction. And I said to myself “who do I know…” (laughs)

Egan: And I hadn’t published a book either!

Hannaham: I showed you a story of mine. Which I was thinking about yesterday in the shower.

Egan: I still think about that story.

Britt: What was it about?

Hannaham: It was a story about a black gay man who accidentally kills a Republican senator during rough sex.

Egan: And the dialogue between them during the sex is just wild. I remember reading this and thinking “Oh My God!” this is just a guy I knew from the theatre world. And the story was just so shocking and funny and horrible. And it did a lot things. How many times of all the times when people say “would you read my stuff,” does anything happen in those stories?

Britt: Were you the kind of friends who made a lot of weird jokes with each other?

Egan: I think James is funny. I feel like I’m not funny. I’m funnier on the page than I am in real life.

Hannaham: I feel like you [Jennifer] have a mordant sense of humor. But you don’t make as many puns as I do.

Egan: But I feel like from the beginning, I was trying to strategize for you.

Hannaham: That’s true. I was doing a talk at City College a few years ago and I was being asked to retrace the steps of my career and at almost every turn I was like “and then Jennifer Egan said to me…”

(Both laugh)

Britt: So, if you guys had a family relationship, what kind of relationship would this be?

Hannaham: Well, we do have little nicknames for each other…

Egan: That’s truuuue!

Hannaham: There was a point at which Jenny was trying to help me find an agent and at a certain point — you know how they say you need an agent to get an agent — Jenny was that. And so, I don’t remember who started it, but I started calling her “Agent 99.”

Britt: From Get Smart.

Egan: Right, from Get Smart. And I always adored Agent 99 from Get Smart. And so…

Hannaham: ..she started to call me 007, because my first name is James.

Britt: So you guys were like spies together.

Egan: It kind of felt that way. Because it felt so ridiculously hard at the beginning. For most of my time I feel like I really struggled. With Goon Squad I had a lot of really good luck, but it was such a pleasure to use some of the knowledge that I’d gained from all of that to help someone I basically knew was going to get there. But it was kind of crazy how hard it was.

Britt: Was there something in those days, or before, that you wanted out of the writing life, something you don’t care about now, or something you’ve let go of?

Hannaham: Everyone generally thinks it’s going to happen faster than it can.

As if having the machinery in place will make it all happen when in fact it comes down to the work.

Egan: That’s true. There’s often a focus on getting an agent before one needs one. That was not James’s situation, because he had a book. But often, I find people are very focused on that. As if having the machinery in place will make it all happen when in fact it comes down to the work. With James, I was full of advice, but the most essential thing is that the work has to be really good and get better. And that’s a lot to ask. James has always done that. And I remember when you told me about Delicious Foods and I thought “this is a really good idea,” but we all know that doesn’t necessarily mean…

Hannaham: Yeah. It’s what they call in Hollywood “execution dependant.”

Britt: Talking about the book a little bit [Delicious Foods] was this something where you had the concept first? Perhaps before the characters?

Hannaham: There were two ideas. I had this idea in the back of mind that I wanted to write a book that in someway dealt with the legacy of slavery — sort of a rite of passage for a young black novelist — but I wanted to do something I hadn’t seen done before. And I came across this story in John Bowe’s book Nobodies about a black woman who was essentially enslaved in Florida in 1992. I was like “okay. I don’t have to set this in the past.” So, a lot of different things were snowballing at that moment. But I don’t like to think of it as “the concept,” like it’s this thing I put in the toaster while I work on the egg…it all sort of came together at once.

Britt: Now, I might have misinterpreted this, but you make a reference early in the novel to the idea that Eddie should keep his hands up. How do you feel about that reference? Is it a reference to Ferguson? What do think history will do with a book like this?

There are so many different ways to “read” something.

Hannaham: Well, you’re actually asking the wrong person this question! Because of [Jennifer Egan’s] Look at Me…but it’s hard to say. There are so many different ways to “read” something. And as an academic, I’m not sure I know how to answer that. I could read it as a feminist or a post-structuralist. There’s so many ways to answer that.

Egan: I have an answer! I think they [future people] will of course conflate it [Delicious Foods] with Ferguson. There’s no way not to. That’s why, in a way, Look at Me [which quasi-predicts 9/11] is the same. I mean, I do have an afterward that clarifies that I didn’t write Look at Me in response to 9/11 because I wouldn’t have written that book after 9/11. But I’m operating in the same moment that lead to 9/11. And that’s what I think is true of Delicious Foods, too.

Hannaham: And I think that particular detail is not about anything political. But I was editing the book during that time, so it’s possible that it’s in the back of mind. However, my copyeditor on this book told me they were an EMT, so they had a lot of input. And because Eddie has had his hands cut off, I did a lot of research as to what you need to do to survive. Part of that was keeping your arms “up.” One story I researched was about woman named Mary Vincent. She was raped and had her forearms cut off. And after surviving, she became an artist!

Britt: So, Jennifer Egan, imagine you’re James Hannaham: what do think is the question that James Hannaham is going to be sick of getting by the end of the Delicious Foods book tour?

Egan: Well, one of things we have in common as writers is that we don’t work too much from personal experience. So, I feel like there’s a constant desire for readers to find parallels between one’s life and one’s work. And they do exist but I think in the case of people like us if we wanted that to be the conversation, they would be much more in the foreground. I always have a hard time with those [autobiographical] questions. I don’t like to talk about myself, in any way. So, it’s hard to be asked that, when I’ve worked so hard to conceal — even from myself — how much of this stuff I actually used from my life. With James’s first book [God Says No] we had some pretty hilarious moments where people assumed the closeted, obese, evangelical Christian man in the book was James!

Hannaham: Well, that book was written in part to confuse that impulse.

Egan: Anyway, we had potential agents criticizing that book for being so clearly autobiographical.

Britt: How presumptuous!

Hannaham: I think it’s really weird when you’ve written a character who is based on someone and then the “real” person will be like “I’m in that book! That’s me in that book!” And I’m like, no, it’s not. It’s actually just a collection of words.

Egan: I probably talked for way too long about Goon Squad. But I stopped feeling at a certain point that I had been asked questions before. It felt like the first time, each time I did an event. And that was a great stage to reach. Which made me think of theatre. I’d be like “oh I can’t read this chapter again,” but then I’d think, “People perform in plays, every night for months!” And they make it fresh every time.

Britt: James, are you looking forward to that theatrical part of this business, now that you’re heading out on book tour?

Hannaham: Yeah! I mean it’s an ideal job! It fits a lot of my skill sets. I’m good at performing, but I’m terrible at memorizing.

Egan: It is like the easiest job in the world. I had a terrible public speaking fear, but James, comes from a performance background…

Hannaham: I’m also not afraid to die on stage!

Britt: What are you working on now, James?

Hannaham: You’re going to be totally freaked out by this answer. I’m doing a show. [An art show.] I’ve been offered a solo show at a gallery in Ridgewood — which is right in the middle of the book tour — but I couldn’t say no. (laughs) It’s the Kimberly Klark gallery.

Egan: Is it new stuff?

Hannaham: It turned out to be quite new. I bought a vinyl cutter. So I can make vinyl letters that you can stick on things. And it’s going to be a lot of vinyl letters, sentences stuck on the walls. And they said, “Well, you might want to make some stuff that we can sell,” and so I stewed over that conundrum for awhile. But I made these small, 12 by 16 which are poster-type things with these phrases on them that were mostly phrases you’d hear someone say about a work of art. Like, one of them says “Not My Best Work.”

IMG_4951
IMG_4948
IMG_4946

Egan: When is the show?

Hannaham: Beginning of April!

Britt: James, what’s your favorite thing about Jennifer Egan?

Hannaham: That she…lives…nearby. (laughs) There are just too many other things!

Egan: Embarrassing!

Hannaham: I just don’t know anyone who is sharper. And generous. And fierce.

Britt: How about you, Jennifer? What’s the great thing about James?

Egan: Just a totally splendid human being. And amazingly enough, also a superb writer. It’s very hard to find all of that in one person. But, I would take the person first. It’s fun to do all this writing stuff. But that’s not the real thing.

Britt: If you were to pack it all in and say we’re done with this writing thing, you’d still be great friends?

Egan: I’d hope so!

Hannaham: For sure. But, probably spies, too. (laughs)

Original artwork provided by James Hannaham

George R.R. Martin Will Stop Writing for Game of Thrones to finish The Winds of Winter

Last week, the creators of HBO’s Game of Thrones officially confirmed what every fan already knew: the TV show is going to spoil the plot of George R.R. Martin’s epic fantasy series A Song of Ice and Fire. For the past few years, Martin has talked openly about the pressure to finish the series before HBO, once describing the TV show as a “freight train” barreling down on him. While it seems impossible for him to finish the entire series before the show, he seems determined to at least finish book six, The Winds of Winter, before season 6 of Game of Thrones. He recently pulled out of attending several conferences, and today he took to his livejournal to say he wouldn’t be writing any episodes for the next season of the show. (Typically Martin scripts one episode a season.)

Writing a script takes me three weeks, minimum, and longer when it is not a straight adaptation from the novels. And really, it would cost me more time than that, since I have never been good at changing gears from one medium to another and back again. Writing a season six script would cost me a month’s work on WINDS, and maybe as much as six weeks, and I cannot afford that. With David Benioff, D.B. Weiss, and Bryan Cogman on board, the scriptwriting chores for season six should be well covered. My energies are best devoted to WINDS.

On the other hand, Martin also noted that The Winds of Winter was hardly the only project taking up his time:

When I say, “my plate is full,” I don’t just mean with WINDS. I am still editing the latest Wild Cards volume, HIGH STAKES. I have an overall deal with HBO, and three new television concepts in various stages of development, with a variety of collaborators and partners. I am consulting on a couple of videogames. There’s the Wild Cards movie at Universal, where I’m a producer. And I’ve recently formed a new production company to make low budget short films based on a trio of classic short stories by… well, no, not yet, that would be telling. Premature telling.

Meanwhile, the Game of Thrones train keeps chugging along.