An Interview with Christopher K. Coffman and Daniel Lukes, Editors of William T. Vollmann: A Critical Companion (Part 2)

William T. Vollmann: A Critical Companion, newish from University of Delaware Press, collects academic essays and memoir-vignettes by a range of critics and authors to make the case that Vollmann is, as the blurb claims, the “most ambitious, productive, and important living author in the US.” I interviewed the book’s editors, Christopher K. Coffman and Daniel Lukes, over a series of emails in a two-part interview. You can read the first part here. A few days after the first part of the interview posted, Lukes and Coffman hosted a book launch party in NYC for WTV: ACC; the pics in this interview are from that event (check out the Facebook page for more, including Jonathan Franzen reading from his piece on Vollmann).

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Biblioklept: Let’s talk about the formal elements of William T. Vollmann: A Critical Companion. The collection seems to balance essays of a more academic flavor with memoir-vignettes, personal accounts, and riffs.

Christopher K. Coffman: We decided early on to intersperse among the academic essays pieces by non-scholars, or by scholars writing in a non-scholarly mode. The goal here was at least two-fold. We wanted to offer something a bit more accessible to WTV readers who were not in academia (although I think the average WTV fan can follow scholarly arguments as well as many of us in academia can). Also, we realized that some people with a privileged view on WTV’s work–such as those of WTV’s book designers who contributed (Bolte and Speaker Austin)–could add something of interest and great value to audiences in and out of academia, and we wanted to make space for that. I would have to look back through the e-mail log to be sure, but I think Daniel first came up with the idea of soliciting shorter pieces from non-scholars, and that I then conceived the structural component. I am a huge fan of Hemingway’s In Our Time, and the contrapuntal play between the stories and the very short inter-chapters in that book served for me as a paradigm of what Daniel and I have tried to do in this regard. Of course, as soon as we brought up the example of Hemingway, we recalled that WTV does something similar in Thirteen Stories and Thirteen Epitaphs, so he beat us to the punch even there. At any rate, my hope is that our readers find in the short chapterlets material that serves as a response to or as an extension of ideas presented in the more properly scholarly readings that surround those shorter pieces.

The second question of arrangement was the placement of essays and interchapters, and we here grouped according to subject matter as well as we could, without merely replicating what McCaffery and Hemmingson had done for Expelled from Eden. We also, obviously, made space for both Larry and Michael as the authors of the Preface and Afterword. Our intention there, insofar as I can speak for both of us, is to make it clear that we are trying to situate our contribution to scholarship on WTV in relation to the work that Larry and Michael have already done. Finally, I wrote the Introduction not only because one of us had to, but also because Daniel was spoken for in the sense that he already had material that formed the basis for the really great chapter that he contributed. Also, I found the chance to frame the book’s material via an introduction that dealt with WTV’s place in the landscape of post-1945 American fiction appealing. That said, while the introduction bears my byline, my ongoing conversation with Daniel during the past few years shaped my thinking about WTV as much as any original ideas of my own, so he deserves a lot of credit for the introduction as well.

Daniel Lukes: I’ve been going back over the timeline to see if Samuel Cohen and Lee Konstantinou’s edited volume The Legacy of David Foster Wallace, which also features some shorter pieces, was an influence on that, but it looks like we took our approach independently. Though I will say their book did serve as a model in some ways of what ours could be. Dealing with the “non-scholarly” pieces has been for me one of the most exciting parts of putting this book together (the distinction between “scholarlies” and “non-scholarlies” itself being one of the various amusing frameworks that Chris and I have been carrying around throughout the process). From the beginning I thought it would be very helpful to have some of Vollmann’s literary peers chime in: you just don’t hear too much from them about him. So we reached out to writers we thought might be Vollmann readers: some just weren’t (I’d love to know if Cormac McCarthy reads Vollmann: the letter I mailed to a presumed representative of his returned unopened). Some were Vollmann fans/friends, but couldn’t make it for another reason; when Jonathan Franzen came through and expressed his enthusiasm for the project and willingness to contribute a piece, I felt some relief. And James Franco was a pleasure to work with. That said I think the primary value of the non-scholarlies is in the insights they offer into Vollmann’s world and writing practices, from those who have worked closely with him, in particular Carla Bolte, Mary Austin Speaker, and Mariya Gusev’s excellent and vivid pieces. Continue reading “An Interview with Christopher K. Coffman and Daniel Lukes, Editors of William T. Vollmann: A Critical Companion (Part 2)”

Derek Pyle Discusses Waywords and Meansigns, an Unabridged Musical Adaptation of James Joyce’s Finnegans Wake

I recently talked to Derek Pyle about his project Waywords and Meansigns, which adapts James Joyce’s novel Finnegans Wake into a new musical audiobook. Derek worked for years as half of Jubilation Press. Printing the poems of Lawrence Ferlinghetti, Thich Nhat Hanh, and William Stafford, Derek’s letterpress work can be found in the special collections of the New York Public Library, Brown University, and the Book Club of California. Derek co-founded Waywords and Meansigns in 2014 and became the project’s primary director in 2015. While living part-time in Western Massachusetts, Derek produces Waywords and Meansigns in eastern Canada.

Robert Berry copy
Image by Robert Berry

Biblioklept: What is Waywords and Meansigns?

Derek Pyle: Waywords and Meansigns is a collaborative music project recreating James Joyce’s Finnegans Wake. Seventeen different musicians from all around world have each taken a chapter of Finnegans Wake and set it to music, thereby creating an unabridged audio version of Finnegans Wake.

Finnegans Wake is an incredible book, but it’s notoriously difficult to read. One hope of the project is to create a version of the Wake that is accessible to newcomers — people can just listen to and enjoy the music. To maximize accessibility, we are distributing all the audio freely via our website. But the project does not only appeal to Wake newcomers — as we’ve seen so far, a lot of scholars and devoted readers are also finding Waywords and Meansigns an exciting way of interpreting and engaging with Joyce’s text.

Biblioklept: How did the project come about?

DP: In 2014 I organized a party to celebrate the 75th anniversary of the publication of Finnegans Wake. To celebrate we decided to listen to Patrick Healy’s audiobook recording of Finnegans Wake, which is 20-odd hours long. The party, as you can imagine, lasted all weekend — we actually listened to Johnny Cash’s unabridged reading of the New Testament that weekend too. There was very little sleep, and fair amount of absinthe.

A lot of people really rag on Healy’s recording, because it’s read at breakneck speed. I actually like it though — he creates a very visceral flood of experience, which is one way of reading, or interpreting, Finnegans Wake. But during the party I started wondering about other ways you could perform the text, and that’s when I came up with the idea of approaching musicians to create a new kind of audiobook.

As it turns out, a lot of people seemed to think my idea was a good one. We’ve had no shortage of musicians willing to contribute, including some really cool cats like Tim Carbone of Railroad Earth and bassist Mike Watt, who currently plays in Iggy Pop’s band The Stooges.

Biblioklept: Watt rules! I love the Minutemen and his solo stuff. He seems like a natural fit for this kind of project, as so much of his music is based around story telling. I imagine the musicians involved are composing the music themselves…are they also recording it themselves?

DP: Yeah, it’s very cool to have Watt on board. Turns out he’s a huge fan of Joyce — he recorded a track for Fire Records in 2008, for an album of various musicians turning the poems of Joyce’s Chamber Music into songs. Mary Lorson, of the bands Saint Low and Madder Rose, also played on that Fire Records album, and she’s collaborating with author Brian Hall for our project.

To answer your question, yes, all the musicians are recording their own chapters. Since we have contributors from all around the world — from Berlin to Amsterdam to British Columbia — it would be a logistical nightmare to figure out where and when to record everyone. Not to mention the cost of it. One of the really cool things, I think, about this project — for everyone, it’s a labor of love. No one is making a profit, off any of this. People are just doing it because they love Joyce, or they’re obsessed with Finnegans Wake, or it just seems like a fun challenge to think creatively in this unique way. Either way it’s a pursuit of passion. That’s why we will distribute all the audio freely. There’s this phrase in Finnegans Wake, “Here Comes Everybody!” We’re having fun with Finnegans Wake and everybody is invited to the party. Continue reading “Derek Pyle Discusses Waywords and Meansigns, an Unabridged Musical Adaptation of James Joyce’s Finnegans Wake”

An Interview with Christopher K. Coffman and Daniel Lukes, Editors of William T. Vollmann: A Critical Companion (Part I)

William T. Vollmann: A Critical Companion, new from University of Delaware Press, collects academic essays and memoir-vignettes by a range of critics and authors to make the case that Vollmann is, as the blurb claims, the “most ambitious, productive, and important living author in the US.” I interviewed the book’s editors, Christopher K. Coffman and Daniel Lukes, over a series of emails.

If you live in NYC (or feel like traveling), you can check out the book launch for William T. Vollmann: A Critical Companion this weekend, hosted by Coffman and Lukes (4:30pm at the 11th Street Bar).

This is the first part of a two-part interview.

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Biblioklept: How did William T. Vollmann: A Critical Companion come about?

Daniel Lukes: The starting point would be the MLA panel I put together in January 2011, called “William T. Vollmann: Methodologies and Morals.” Chris’s was the first abstract I received and I remember being impressed with its confidence of vision. Michael Hemmingson also gave a paper, and Larry McCaffery was kind enough to act as respondent. Joshua Jensen was also a panelist. I kept in touch with Chris and we very soon decided that there was a hole in the market, so to speak, so we put out a call for papers and took it from there.

One of my favorite things about putting together this book has been connecting with – and being exposed to – such a range of perspectives on Vollmann: people seem to come at him from – and find in his works – so many different angles. It’s bewildering and thrilling to talk about the same author with someone and not quite believe you are doing so. And I think this started for me, in a way, at least as far as this book is concerned, with reading Chris’ MLA abstract.

Biblioklept: I first heard about Vollmann in connection to David Foster Wallace (Wallace namechecks him in his essay “A Supposedly Fun Thing I’ll Never Do Again”). A friend “loaned” me his copy of The Ice-Shirt and I never gave it back. When was the first time you read Vollmann?

Christopher K. Coffman: I first encountered William T. Vollmann’s work about ten years ago. At the time, I had just finished grad school, and as my dissertation work had been focused on aspects of modern and contemporary poetry, I had let my attention to contemporary prose slip a bit. When I realized this had happened, I starting reading a lot of recent fiction. Of course David Foster Wallace’s books were part of this effort, and I, like so many others, really developed a love for Infinite Jest and some of the stories in Girl with Curious Hair. My memory’s a bit fuzzy on the timeline, but my best guess, given what I know I was reading and thinking about at the time, is that in my reading around DFW I discovered the Summer 1993 issue of The Review of Contemporary Fiction with which Larry McCaffery had been involved, and that the interview with DFW in that issue–along with the WTV materials themselves–woke me up to WTV and his work. I can’t say enough about how important Larry’s championing of WTV has been, and continues to be. Of course, one could say that about his support for so many of the interesting things that have happened in fiction during the past three or four decades. His interviews, his editorial work, the part he played with the Fiction Collective …. the list of the ways that he identifies and promotes some of the best work out there could go on for a while, and no one else that I know of has done it as well as Larry has for as long as he has. Anyway, as I was pretty much broke at the time, my reading choices were governed in large part by what I could find at libraries or local used bookstores, and The Ice-Shirt was the first volume I came across in one of these venues. I was already a huge fan of The Sot-Weed Factor and Mason & Dixon, and the entire Seven Dreams project very much struck me as a next step forward along the trajectory those books described. As a consequence, I immediately started tracking down and reading not only the rest of the Dreams, but also everything else I could find by WTV.

What about The Ice-Shirt that really won me over, aside from my impression that this was another brilliant reinterpretation of the historical novel, is that WTV was clearly bringing together and pushing to their limits some of my favorite characteristics of post-1945 American fiction (structural hijinks of a sort familiar from works by figures like Barth and Barthelme, a fearlessness in terms of subject matter and the occasional emergence of a vatic tone that reminded me of Burroughs, an autofictional element of the sort you see in Hunter S. Thompson). Furthermore, as a literary critic, I was really intrigued by two additional aspects of the text: the degree to which The Ice-Shirt foregrounds the many ways that it is itself an extended interpretation of earlier texts (the sagas on which he draws for many of the novel’s characters and much of its action), and the inclusion of extensive paratexts–the notes, glossaries, timelines, and so forth. In short, this seemed like a book that united my favorite characteristics of contemporary literary fiction with a dedication to the sort of work that I, as a scholar, spend a lot of my time doing. How could I resist? It took my readings of a few more of WTV’s books for me to be able to recognize what I would argue are his other most significant characteristics: his global scope and his deep moral vision.

As for your also having begun reading WTV with The Ice-Shirt: It’s an interesting coincidence to me that we both started with that book. I have always assumed that most people start into WTV via either the prostitute writings (which have a sort of underground cachet by virtue of subject matter) or Europe Central (which is of course the book that got the most mainstream attention), but here we both are with The Ice-Shirt. WTV has indicated he sees it as under-realized in certain ways, but I am still quite fond of it, even in comparison to some of the later books. Continue reading “An Interview with Christopher K. Coffman and Daniel Lukes, Editors of William T. Vollmann: A Critical Companion (Part I)”

Bob Schofield Discusses The Inevitable June and His Sad-Cartoon-Apocalypse Aesthetic

Bob Schofield is a writer and artist. He first showed up on my radar when theNewerYork sent me a digital file of his book The Inevitable June, which I described as “the kind of thing that we need more of; not a gimmick or a hybrid, but something new.” I’m still not sure what the book is, but I dig it. Bob was kind enough to talk to me over a series of emails about his work. Read some of Bob’s work at his website. Read my review of The Inevitable June here. Read our discussion below.

Biblioklept: What is The Inevitable June?

Bob Schofield: The Inevitable June is a collection of 30 surreal short prose pieces, one for every day in June, intercut with black and white illustrations. The drawings don’t always correspond to the text, and there isn’t really much of a coherent “story” per se, but there is certainly momentum and direction. The book definitely goes somewhere, though I’m not sure where exactly that “somewhere” is.

I kind of just wanted to build a little world that mirrored my imagination. A kind of scale-model. So I wanted it to be a little cold and sad and spooky and, hopefully, also fun. Like some kind of weird, floppy theme park made of bound paper squares.

Biblioklept: How did you compose that “scale-model”? Did you have an outline from the outset?

Schofield: There were a few structural “rules” I came up with, and the rest I sort of made up as I went. Like I knew I’d have thirty pieces total, and they’d all be titled for successive days in June. It’s funny, a lot of the momentum in the book just comes from that progression of calendar days. I guess we’re just culturally wired to feel like we’re going somewhere when we see those days slide by. But in the book it’s all relatively arbitrary, and if you were to take the days away as titles, things would feel a lot more meandering.

Photograph of Bob Schofield by Alex Broadwell
Photograph of Bob Schofield by Alex Broadwell

My other big structural decision was to start every piece with “This morning,” which would become a kind of refrain throughout the book. I kind of thought of it a bit like a dinner bell, indicating one course of the meal was over, and we were moving on to the next.

Then as I was writing all the individual pieces, I’d cherry pick certain images and phrases I liked, and then be sure to repeat them later on. That way the reader’s brain would kind of light up as they recognized parts of a pattern, even though the pattern wasn’t really saying anything specific. I think that kind of thing is important when you don’t have a more familiar storytelling structure to rely on. You need to give the reader something to hold on to.

And for myself as writer, all these patterns and rules gave me just as much of an anchor. It meant I wasn’t just spinning off into some sort of insane, incomprehensible word soup. I’d always be aware that I’d have to wrap things up at some point, and move on to the next “day.”

Biblioklept: Your book The Last Days of Tokyo shares some of the anchoring features you mention—beginning each page with the phrase “On the last day of Tokyo,” for example, and the image of a salaryman fleeing in horror, his face an echo of Munch’s The Scream.

1 Continue reading “Bob Schofield Discusses The Inevitable June and His Sad-Cartoon-Apocalypse Aesthetic”

Kevin Thomas Discusses His Illustrated Book Reviews with Biblioklept

Kevin Thomas’s new book Horn! (from OR Books) collects the book reviews he’s been doing for the past few years at the Rumpus. Kevin reviews new books (and occasionally reissues) in comic strip form. Over a series of emails, Kevin talked with me about his process, how he got started, the books that have stuck with him the most over the years, and his theory that The Life Aquatic with Steve Zissou is a secret remake of Three Amigos!  Find Kevin on Goodreads,Twitter, and Tumblr.

Biblioklept: You’ve been reviewing books at The Rumpus for a couple of years now in your strip Horn! How did the strip start? Did it start with The Rumpus, or before?

Kevin Thomas: I had been making these primitive autobiographical webcomics under the “Horn!” moniker for about a year when The Rumpus Book Club started. One of the selling points of the book club was that if you reviewed a book and the editors liked it, they’d publish it on the site. So I dedicated one comic a month to reviewing these books, and after the third submission was accepted, The Rumpus asked me if I wanted to make it a regular strip.

Biblioklept: What other kinds of comics did you make before that? Did you have any training or background in cartooning?

KT: No, I was trained, to put it generously, to be a composer. Before that I wanted to be a poet. I had great teachers in both of those fields, but never even thought about taking a studio art class. Maybe the fact that I hadn’t yet tried and failed at comics was what drew me to it. Continue reading “Kevin Thomas Discusses His Illustrated Book Reviews with Biblioklept”

“The Central Energy of a Piece Comes from the Sentences” | Jessica Hollander Interviewed

hollander_in_these_timesI was deeply impressed by the short stories in Jessica Hollander’s In These Times the Home Is a Tired Place (University of North Texas Press). In my review, I wrote that

Every story in Jessica Hollander’s début collection In These Times the Home Is a Tired Place feels thoroughly real, deeply authentic, and if we already know the contours of these plots—perhaps having lived some of them ourselves—Hollander makes us experience them anew with her bristling, strange sentences. Hollander writes here of families on the brink and families broken, families fragmenting and families forgetting. She conjures domestic spaces limned with ghosts and memories, children and parents who aren’t quite sure how to be a family, but who nevertheless try—even if trying is really just imagining.

Jessica was kind enough to discuss her writing with me over a series of emails, sharing her thoughts on sentences, families, and zombies.

Biblioklept: When did you start working on the stories that make up In These Times the Home Is a Tired Place? The collection feels really unified in its tone, themes, and images. Many of the stories were published in different journals and magazines before they were collected—did you always envision them collected? Were there stories you left out that you felt didn’t fit?

Jessica Hollander: I worked on a lot of these stories while in my MFA program, so over four years, though a couple date back even further than that. I was interested in trying out new voices and forms, but I kept examining similar questions and anxieties, just from different angles. During the years I wrote most of these stories, I lived through a lot of “big” moments – marriage, parenthood, home-ownership – and writing was a way to deal with some of my anxieties in doing what our society tells us we should do. I constantly questioned why I wanted these things—if I really wanted them or if I’d only been conditioned to want them. I thought a lot about identity and what happens to it once you start taking on roles with so much cultural baggage attached to them, as I became a wife, a mother, etc., which is why in some of the stories the characters are even referred to by these titles. It’s a battle between the role and their individuality.

I didn’t think about writing the stories for a collection. I knew I was “worrying” particular subject matter that was important to me, and it was exciting to see trends in tone and imagery develop, but it wasn’t until I’d accumulated a mass of work that I started sifting through it. And many stories were left out that didn’t seem to fit or that years later didn’t interest me as much anymore.

Biblioklept: One thing I love about the stories in the collection is how they take on those “big” moments you mention—how alienating it is all of a sudden to inhabit a new role that’s already been socially scripted in some way. Do your stories start from those conflicts, or from something else? I mean, do you start by trying to write (through, against, about) the anxieties, or do the stories germinate in other ways?

JH: Most of the time I don’t have a clear idea of what I’m going to write about. I’ll start with a character or a small scene inspired by something I saw or experienced, but often I’ll start with style—wanting to try out a modular story or write about characters who have titles instead of names or I’ll want to try a particular point of view I haven’t written from in awhile or I will write a sentence and see if I’m interested in the voice. I have to be interested in the sentence level to push a story further, so sentences come before themes or even character for me. But that’s what was strange and exciting about the stories that came together to form this collection—I seemed to keep worrying over these similar themes, anxieties over identity and role-shifts, but it wasn’t planned. I guess that’s the part of writing that the subconscious has a bigger hand in. A lot of my extended family was surprised when they read the collection because the stories seemed so pessimistic about things like family and connections between people. They tell my parents, “But she had such a happy childhood!” And now they see me, and I am married and have kids and (besides general anxieties) I am happy (though it’s hard to write that word without quotations—what does “happy” mean?). And of course these stories are fiction, it isn’t me, but it all still comes from me and things I’m thinking about on some level.

Jessica Hollander
Jessica Hollander

Biblioklept: I can imagine those family reactions—because the stories seem so real, so true, so authentic. But I think a lot of that authenticity originates from the sentences, which you bring up here. In many of the stories, the reader gets a whole story out of just a sentence or two, and part of that story comes from the disconnect between the way a character might perceive the world and the way that the other sentences have represented that world—like the poor babysitter of the title story. Is the sentence as important to you as a reader as it is to you as a writer?

JH: The sentence is important to me as a reader. There was a time when I didn’t really even think about what language could do to a story—I only noticed macro-level things like plot and character, then  later I got more interested in image and metaphor. Now, to me, it seems like the central energy of a piece comes from the sentences. If I’m not interested in the writing, if there’s no strangeness or surprises or just some poetic sense of words interacting with each other, I rarely stick around to find out about plot and character.

Biblioklept: I think the sentences in your collection mediate the tension between the simultaneous reality/irreality of domestic life, of the weirdness of being in a family—that a family is a set of contingent relationships, never stable. In one of our earlier emails, you mentioned working on new material with a “hyper-real semi-comic tone but with some darker threads” and that there might be “zombies and haunted houses and things” in your latest work. Is this a conscious shift away from the content of your collection, which focuses so much on families?

JH: Oh, no, the stories I’m working on now are still all about family and relationships, but I’m having some fun drawing from the female gothic tradition, examining the dark sides of domestic life and pressures of social/gender roles. Gothic literature is interested in what’s unexplainable, both inside and outside of us, and looks at impulses based in emotion and not logic. There’s hauntings from the past and monsters inside of us, battles between logic and emotion, repressing feelings that later manifest destructively, and humans being drawn to the sublime and the numinous: things that inspire both fear and awe, that remind us of our own demise, but encourage us to see beauty in sadness, death, and suffering. So certainly relevant to families!

Biblioklept: You teach writing now here in the South—do you think that the Southern Gothic tradition has influence you at all? Why do you think that we so strongly identify Southern lit as Gothic?

JH: Gothic is often about hauntings from the past, and I think a lot of people view the south as haunted, by slavery and economic disparities and the war. A lot of southern gothic writers (Faulkner, O’Connor, Williams) confront or critique southern romanticism, a longing for the old south as a magical place where chivalry and passionate emotions thrived that was unfortunately corrupted/destroyed by outsiders and modernity. But we know the old south was not so beautiful as that; it was of course a complex place where a lot of dark things passed between humans. Classic Gothic literature (Frankenstein, Dracula, Castle of Otranto, Edgar Allan Poe’s work) is romantic, too, with long passages about the sublimity of nature and characters moved by strong emotions (including grief, despair, anger, and love), but Gothic always exposes the dark urges of humans, and how people inevitably contribute to their own demise.

Biblioklept: What authors do you encourage your students to read?

JH: I’m really conscious of exposing students to a lot of different styles of writing, from traditional realism to postmodern experiments, so we can talk about how choices different authors make in terms of language, image, structure, portrayal of reality, and so on shape theme and meaning. This seems like the best way to prepare students to make conscientious choices when defining their own aesthetic interests and to recognize the wide variety of options available to them. Toward the realism side of things, I like Michael Cunningham, Dan Chaon, and Jennifer Egan; for maximalism, Alice Munroe; Lorrie Moore, Miranda July and Raymond Carver I use for hyper-realism and minimalism; Christine Schutt for lyricism; Sherman Alexie, Haruki Murakami, and Kellie Link for magical realism and surrealism; Jessica Hagedorn and Michael Martone for formalism; and George Saunders and Stacey Richter for absurdism. And it depends on the class. I use different authors for the gothic class and for the linked story workshop I’m teaching now, but I always try for variety.

Biblioklept: Have you ever stolen a book?

JH: I haven’t stolen a book from a store or library, but there’s one book that I borrowed and never returned: the Complete Stories by Flannery O’Connor. When I lived in North Carolina a few years, I lent a writer friend my copy of Salinger’s Catcher in the Rye, which she amazingly hadn’t read, and she lent me the O’Connor book, which amazingly I hadn’t read. I was happy with the one I ended up with. She must’ve been, too, or maybe she forgot we’d switched, but we never swapped those books back to each other. Maybe it foreshadowed my move further south to Alabama and my interest in dark humor and gothicism. 

“We Need Cruel Comedy” | A Lars Iyer Interview

I first interviewed Lars Iyer in 2011, after the publication of his novel Spurious, the beginning of a trilogy that concluded with Exodus (my favorite of the three). I asked Lars to talk with me about his trilogy for an email interview, and we ended up discussing failure, comedy, optimism, academia, American writing, Britain in the mid-eighties, and his forthcoming novel Wittgenstein Jr.

You can get Lars Iyer’s trilogy from publisher Melville House, check out his blog, and find him on Twitter.

Biblioklept: Why a trilogy? Was that by design? Is it a trilogy?

Lars Iyer: Spurious was only a beginning. I wanted to historicise my characters, to present their friendship as part of a larger social, economic and political context. Otherwise, I risked merely contributing belatedly to the literature of the absurd.

Biblioklept: I want to talk about the end of Exodus but that seems like bad form for an interview. Spoilers, etc. Can you comment on where you leave your protagonists, or how you leave them, or why you leave them?

LI: I leave my protagonists roughly where they were at the beginning of the trilogy: rudderless, rather lost, full of a sense of their failure, but with their friendship, such as it is, intact. ‘No hugs, no lessons’: my characters haven’t learned anything…

larsBiblioklept: Why can’t they learn? Why the repetition? Why not a heroic arc? Why not a saving grace?

LI: Perhaps because learning implies a kind of resolution that I think is inappropriate for the characters. Kundera says something apposite about Don Quixote. Cervantes makes his would-be knight-errant set off in search of battles, ready to sacrifice his life for a noble cause, ‘but tragedy doesn’t want him’. Kundera goes on:

since its birth, the novel is suspicious of tragedy: of its cult of grandeur; of its theatrical origins; of its blindness to the prose of life. Poor Alonzo Quijada. In the vicinity of his mournful countenance, everything turns into comedy.

So it is with my trilogy. No tragedy! No heroism! No tragic catharsis, that would see the tragic hero being dragged back into line. And no comic catharsis either, in which the older norms of a traditional societal system are reaffirmed. So much comedy is self-congratulatory, self-reassuring: the humour of good cheer, of port and cigars. It shores up things as they are. This is why I can never bear to watch comedy on television. It’s so rare to see comedians turn the joke on themselves. We need cruel comedy. Black comedy, which laughs at itself laughing…

Why the use of repetition in my novels? Because I want to portray the breakdown of things as they are, not once, but again and again. Failure, without amelioration. Serio-comic breakdown, without restitution. Anomie. Helplessness. Crushed hope. How else to acknowledge the prose of our lives?

Much of the humour of Don Quixote, depends on the contrast between lofty ideals and the concrete, everyday, corporeal life. The humour of my trilogy is analogous – but, of course, our everyday is utterly changed! A generalised precarity, un- and under-employment, free-floating anxiety, consumerism, the emphasis on self-representation, the sense that history is over, that politics is all played out, that financial and climatic catastrophe loom…

The tragedy of everyday life is that it’s not even tragic. It never reaches the lofty heights of tragic grandeur. Well, nor do my characters. When W. is at his most wretched, he cannot even die – that’s the end of Dogma. When W. is at his most revolutionary, participating in his own version of the Occupy movement, as at the end of Exodus … well, I won’t spoil the story, but it won’t surprise readers of previous books in the trilogy that there is neither a heroic arc nor a saving grace. Continue reading ““We Need Cruel Comedy” | A Lars Iyer Interview”