“Speaking a language inexpertly makes language visible, and malleable. You become aware of language not just as a medium but as matter itself, as something you manipulate, as something you have to work with.”
Garth Greenwell joins the show to talk about the poetics of cruising (and cruising’s great leveling potential) both in his life and in his debut novel What Belongs to You, the hyper-masculine culture and homophobia of Bulgaria, his concern that contemporary English-language writers don’t read in other languages (or read in translation), his role chairing the 2017 Festival Neue Literatur, the dangers of LGBTQ mainstreaming, the fragility of cosmopolitanism, the state of queer fiction, and our mutual admiration of Samuel R. Delany! Give it a listen! And go buy What Belongs to You: A Novel!
“I wanted in this book to create a space where I could think about what shame feels like to an open and proud gay man.”
Bonus: This episode is also part of our media partnership with Festival Neue Literatur, which is taking place March 2-5 in New York City! Garth’s the chairperson for the event! Go attend! Maybe I’ll see you there!
About our Guest
Garth Greenwell is the author of What Belongs to You, which was longlisted for the National Book Award and shortlisted for the Center for Fiction First Novel Prize and the LA Times Book Prize. A New York Times Book Review Editor’s Choice, it was named a Best Book of 2016 by The New York Times, The New Yorker, Publishers Weekly, and over 50 other publications. His work has appeared in The Paris Review, The New Yorker, the London Review of Books, and elsewhere. He lives in Iowa City.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at the apartment of Jeff Nunokawa on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of Mr. Greenwell by me. It’s on my instagram.
“There is a kind of comfort in having a part of yourself that will never be known, can never be known, by others.”
Genre-jumping author Rupert Thomson joins the show to talk about his new novel, Secrecy (Other Press), a 1690’s-based thriller about the Florentine wax-sculptor Zumbo. Along the way, we talk about the arbitrariness of “historical fiction,” the perils of researcher’s block (as opposed to writer’s block), what he learned from a 90-minute audience with James Salter, discovering archaic Italian curses, letting one’s art follow one’s unconscious, the joys of visiting the graves and/or homes of his literary idols, why finding the psychological truth of a story is more important than the details and background, and why it always helps to know a good histopathologist. Go listen!
“When I first started out, what I liked was the unlikely image, the unlikely metaphor. What I like now is finding that simple sentence that captures something you haven’t thought of before.”
About our Guest
Rupert Thomson is the author of nine highly acclaimed novels: Dreams of Leaving, The Five Gates of Hell, Air And Fire, The Insult, Soft!, The Book of Revelation, Divided Kingdom, Death of a Murderer, which was short-listed for the 2007 Costa Novel Award, and Secrecy. His memoir, This Party’s Got To Stop, won the Writers’ Guild Non-Fiction Award. He lives in London.
Credits: This episode’s music is Hotwax by Beck. The conversation was recorded at the Other Press offices on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded on Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Mr. Thomson by Graeme Robertson.