I think some people at Doubleday worried about that a bit when Knockemstiff came out, but, with the exception of one or two people who complained that I didn't do justice to the many good people who lived in the holler, most of the local objections have been aimed at the violence and foul language.
I think the biggest influence on the book, as far as the humor goes, comes, at least indirectly, from the men I worked with in the paper mill. Some of them could make a dog laugh.
I've never heard of that anthology [Vance Randolph, Pissing in the Snow], but you can be sure I'll buy it now.
I'm trying to break myself of that habit [of not writing out a first draft ] because I'm working on a couple novels and I know if I tried to write those books the way I wrote the stories it would take me years to finish.
I've always liked reading books that contain funny lines or situations, and maybe because my work is known chiefly for its violence and misery, I made a more conscious attempt with The Heavenly Table to do that myself.
I took a correspondence course with a guy at Ohio University. He gave me ten exercises, and one of them resulted in the story "Bactine." It pleased me a lot more than anything else I'd ever done, so I kept messing around and by the time I got to Ohio State I'd written maybe eight stories.
When I first started out, I was trying to write stories about nurses and lawyers and a lot of people I didn't know anything about, and they just weren't working.
I worked in a paper mill all my adult life and there were a lot of funny guys there. So you pick up on that. Even though something really bad might have happened to somebody you can still make a joke out of it.
I don't think my book is any more shocking than if I went out right now and brought back your local newspaper and found a story that happened around here yesterday or the day before that's just as shocking as anything in my book.
I remember a class I taught at Ohio State where I assigned a Mary Gaitskill story, which really wasn't that bad, and I had this one girl refuse to read it. But better that reaction than no reaction at all.
When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.
I don't think I'd call [mood] a major force, but it is important as far as hitting the right notes or nuances with a character or scene.
It depends on what your dream might be, as to whether or not it's still possible when you're, say, fifty or sixty. You won't ever pitch for the big leagues, for example. But I believe anyone, regardless of age, can write if he or she is willing to do the work, and I'm talking about spending at least an hour or two at it almost every day for five to ten years.
You're always hoping you can attract a bigger audience, but at the same time, I'd hate to give up what I write. If I could write Chick Lit or something like that and make money off it, that'd be great. But I just can't do it.
It's very easy for me to feel sympathy for people who are messed up. It's not that I'm a pseudo-saint or a great person. I had a lot of trouble with drugs and alcohol when I was younger, and I know how easy it can be to mess up the rest of your life. One bad turn, one bad night, one big mistake, and everything is screwed up. Or maybe you were just born in the wrong house and raised in a bad way. I guess I can understand.
Religion can be a good thing, but basically the way I look at it is that it provides a moral code, common sense. But then people distort it and use it as an excuse to be a bully. It's sad, but that's the way it's worked for a several thousand years now.
As for how I feel about any success I've had, I just feel extremely lucky. Writing is a tough racket, and there are a lot of writers out there better than me who can't seem to catch a break.
I'm always doubting my work, even when people are kind enough to say good things. I still have a hard time believing I've written some books, let alone that they've actually done pretty well.
I really have no idea where the darkness comes from. Other writers have said that there are two subjects worth writing about, love and death; and since I'm a complete flop when it comes to love, I chose death. Too, maybe because of where I came from, I do find it easy to empathise with and write about certain groups of damaged or downtrodden people: the poor, the addicted.
It was really just the name that inspired me: Rainsboro. It's located near Rocky Fork State Park. I have probably driven through that little place a thousand times, but, in that weird way my mind works sometimes, one particular evening it just hit me the right way, I guess. Created a mood more than anything else. And then I started thinking about a woman and her young son who end up there.
I do think they [French] view my writing itself as exotic - though that's probably not the best term for it - to a small extent, mainly because I say things that most French writers would probably hesitate to say for fear of offending someone or upsetting public sensibilities. I don't think that answers the question, but I'm not much good at figuring readers out or I would probably be writing bestsellers.
I'm not sure what the proper label might be, or the most accurate one, but someone once called my stuff Southern Ohio Gothic and I thought that was fair.
Nostalgia is partly illusion in that we remember things differently as we get older, etc. But that doesn't mean, when historians look back on the 1950s, say, from the year 2090, it won't be judged as a saner, slower, less narcissistic, more family-focused, and economically secure time.
Part of the reason might be that I was born in 1954 and I look upon my youth with great fondness, like many old men. And, though my work doesn't focus much on good things, I see that period as America's heyday. True, we had many problems, like racism and Vietnam, but we still weren't quite as nuts as we seem to be now.
I do believe the world is a pretty sad, troubled, and violent place. Maybe that's why I focus on the trouble. Even though there are good people and good things, there's also a bunch of messed up stuff. And I learned early on, you have to have some trouble in your stories. I definitely go overboard on that, but I have a lot more fun writing about the trouble.
