“It’s kind of like a nerdy writer internet chain letter,” my friend William Boyle said when he explained the Writing Process Blog Tour and asked me to join in. So of course I said yes. (Read Bill’s responses to the Blog Tour interview at his blog here.)
I like to think about all the other writers in this chain — beautiful, nerdy, linking arms and building a chain long enough to lasso Pluto and pull it down and make scientists call it a planet again because really, what was that all about?
William Boyle is a badass writer.
I do not know if William Boyle has any feelings for or against Pluto.
I do know Bill’s the author of a beautiful planet of a book – Gravesend.
It’s an unforgettable and devastating noir set in Brooklyn – where spaghetti sauce is gravy and every person on the street, criminal and victim and broken-down beloved and bystander, will break your heart and love it back to life and break it again and go on. Get it in a New York minute here or better, at a good independent bookstore near you.
So, right. The Blog Tour. Here goes. After my answers, I’ll pass this on to two more wonderful writers. And they’ll pass to two more. And they’ll pass to two more.
And so on and so on and so on.
One big beautiful chain.
What are you working on?
I spent this summer finishing my new memoir. It’s called Belief Is Its Own Kind of Truth, Maybe. It’s coming out from Atticus Books in 2015.
I’m adopted, so it’s an adoption memoir, but it’s more about family in a bigger sense. It’s about the things people do and don’t do to each other in the name of family. And it’s about families, plural — the ones we’re born with and the ones we make ourselves.
A palm reader I met once in New York gave me that line. She said the lines on our left hands are the maps of what we’re born with. The lines on our right hands are the maps we’ve made ourselves. If you compare the lines on both hands, they’re supposed to show how your choices change your destiny, nurture over nature, vice versa.
I like that idea a lot. It was worth the fifty bucks.
The palm reader took cash, Visa, Mastercard, but not Discover. I thought this was funny. “Get it?” I said. “You don’t take Discover!”
She didn’t get it.
This made me question everything.
How does your work differ from others’ work in the same genre?
I think life is funny and heartbreaking all at once. I think truth is important and complicated and I try to honor that. I try not to be afraid of things – getting naked on the page, for instance. I want to write with heart, even though in some circles the heart is as fashionable as a fanny pack and culottes. But all of my favorite writers – Hemingway, Sedaris, Harry Crews, Lorrie Moore, Bukowski, Didion and on and on – have written like that. I hope my work is similar to, not different from, the work of writers I love.
That’s probably a wrong answer.
Why do you write what you do?
I wrote my forthcoming book because I spent the first year of my life in a foundling home. I was adopted by two great but unconventional parents. My father liked to say things like “I could wipe my ass with what you know about love.” My mother liked to dress me as her twin and kick my ass at “Jeopardy.” The three of us loved each other very much.
My extended adopted family didn’t consider me my parents’ real child. The word they used was “natural.” They said my mother couldn’t have a natural-born child. She couldn’t have her own child so she ended up with me.
I grew up thinking, as many adopted people do, that I was not natural. I didn’t think much about what the word natural means.
And now I’m a mother.
I didn’t look for my birth family until my parents were dead and I had children, a family. I wanted a medical history. I didn’t get one. Instead my birth mother wished me dead. It’s complicated, I guess. Maybe not.
Writing helps, but the whole experience still feels confusing, like a 10,000-piece puzzle that is 70 percent sky. It seems impossible to piece all that blue together, to match up pieces of clouds, to sort sunlight. But it feels important to try.
My life – like lots of people’s lives, whether adopted or otherwise – felt, feels, fragmented. I write to make something whole out of that.
When I’m not writing about family, I write about place and work, which is about family and home, too, so there’s that. I write about work because I come from work, was raised on work. My father was a steelworker. My mother was a nurse. I’m from Pittsburgh, which to me isn’t about the latest charcuterie or $30 cheese plate or the next artisanal whiskey bar that got play in the New York Times. Pittsburgh to me is still the people who built it.
I write to connect with those people and their people. The world to me feels very disconnected. Everything feels upside down. Some of the best people I know can’t find good jobs. Other people, terrible people, the worst kind of people, the ones who love $30 cheese plates, are in charge of a system designed to keep things that way.
I grew up with a union worker, a father who taught me to jack the boss man. Now there are no unions and too many boss men and women to jack.
There’s a lot of bullshit and cruelty out there. I’m not saying I’m not capable of bullshit and cruelty, but I try to write against that.
How does your writing process work?
O.k., so my daughter wanted these fish. She can’t have a dog or a cat – allergies – and so we got her fish. A couple tetras, a catfish named Gus, some snails. There were three tetras, but I came home one day and there were two. No body floating. No fish head, even. I think these fish eat each other whole. I think these fish believe in $30 cheese plates. They want lavender-infused martinis. They want hot towels.
Fuck these fish. They’re evil. Just look.
So my daughter got her fish and doesn’t like her fish and now every couple weeks I have to clean the fish tank. So when I’m up to my elbows in fish-piss, when I’m gagging over the stink and slime, I think about writing. I think about writing over impossible bills and dishes. I think about writing when I’m picking up my son’s socks, which I find everywhere, one sock at a time. Once I found one in the crisper drawer in the fridge. Explain that.
My husband’s a writer, too, and so together we think about writing a lot. We think about writing while we balance the demands of our lives. There are a lot of demands. We think about writing until we find a tear in the rabbit-proof fence and push our way through out of panic or desperation or fear of death, all of the above.
Usually these days we write together, computers touching, at our dining room table. This is how I’m writing this now.
Our table is an old green farm table. It embarrasses our son because it’s old and ratty and our writer friends have carved their names and initials into it, the way writers have done for a century on that poet tree in Galway. I think it’s beautiful. It warms me to see the names of people I love who’ve spent time here.
So my process is my husband and I sit at our table and write for a couple hours, then we talk and listen to music and drink beer and eat and play Jenga with our kids.
It’s not perfect. There’s no writers studio, no retreat, no treehouse or backwoods cabin ala Thoreau.
In our house, there’s me and my husband, our kids circling us, all this family chaos.
And it feels all right.
Better than that.
For now, get yourselves acquainted:
John Grochalski is the author of The Noose Doesn’t Get Any Looser After You Punch Out (Six Gallery Press 2008), Glass City (Low Ghost Press, 2010), In The Year of Everything Dying (Camel Saloon, 2012), Starting with the Last Name Grochalski (Coleridge Street Books, 2014), and the novel, The Librarian (Six Gallery Press 2013). Grochalski also lives in Brooklyn, New York, where he constantly worries about the high cost of everything.
Ally Malinenko is the author of the poetry book The Wanting Bone (Six Gallery Press), the children’s book Lizzy Speare and the Cursed Tomb (Antenna Books), and most recently This is Sarah (Bookfish Books). She lives in the part of Brooklyn voted to have the best halal truck.