But as anyone with the least knowledge of literature and writing—maybe art in general—will know, concealing what is shameful to you will never lead to anything of value. This is something I discovered later, when I was writing my first novel, when the parts that I was ashamed like a dog to have written were the same parts that my editor always pointed out, saying, This, this is really good! In a way, it was my shame-o-meter, the belief that the feeling of shame or guilt signified relevance, that finally made me write about myself, the most shameful act of all, trying to reach the innocence of the now burned diarist—self.
You see things differently when you’re in love. Two outpatients from a methadone clinic slap each other on the corner. A goiter rides the crosstown bus. We attend a dinner party; none of the dogs have tails. Men in the map room of the New York Public Library surveil passing breasts. Nights slip by. I sit on the curb outside a magazine launch and watch a famous author pour cold water down a woman’s arm. ‘Don’t be jealous,’ my companion says impatiently, cupping his own elbows. ‘He’s only applying a temporary tattoo.’
I was in love and then I wasn’t, and sometime during the drifting gray interim I was told by a bookseller friend to read Renata Adler’s 1976 debut, Speedboat, a novel that had long been out of print but was absolutely, he insisted, worth the trouble of the search.
Recommended Reading: Anna Wiener on Speedboat
I write every day as a matter of course … It is not a burden. It is the way I live.
My stepmother used to give lots of speeches and he asked me to edit one of her speeches. I think the idea of giving a kid that kind of power over your parents’ work, even though she didn’t take any of my edits…[chuckles] There was a rush of perverse power.
So many of us had collections of short stories we read in seventh grade as an introduction to fiction. We were never taught the short story as a unique form. It was an introduction to longer forms. This book was really about looking at what makes a short story such a distinct discipline. The writers we chose to introduce the stories are known for their mastery of that particular medium, which is so deceptively difficult.
"If we can achieve one thing with this book, I think it would be that — that a short story can be both an education and a pleasure."
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