Issue #207: Safety
by Lydia Fitzpatrick

cover_207One of my favorite school memories involves a giant parachute. Once a month, our gym teacher would unroll the colorful fabric. My class would stretch across the floor and play games, raising it up and down, catching the air. There was something magical about that moment, when we were all under the parachute together, and I remembered it vividly when I first read our new issue, “Safety” by Lydia Fitzpatrick. This finely-wrought tale explores a difficult subject: school shootings. The material might seem a bit daunting to some readers, but I will say now that if you do not open this story, you will be missing out on an astonishing accomplishment of suspense and point of view, that somehow turns a deplorable situation into a moment of courage, faith, hope and connection. Check out Lydia’s Q&A with us about how she explored her own fears while writing this compelling story. And when you’ve finished, you might find yourself thinking of your old gym teacher who always made you run extra laps, and the thrill of lifting a parachute over your head with the rest of your class. All those tiny hands making something enormous happen, with material strong enough to save lives, and still thin enough to let the light shine through.

A note from Contributing Editor Will Allison about the next One Story class, and why editing is so important to writing

w allison contact A frame5 copy

In the summer of 1996, a few months after I finished my MFA at Ohio State, I got the luckiest break of my writing career: I landed an editorial job at Story, the fabled literary magazine that prided itself on discovering great new writers, from J. D. Salinger and Carson McCullers in the 1930s and 1940s to Junot Díaz and our own Hannah Tinti in the 1990s.

I say it was the luckiest break of my career because even though I’d been writing fiction for eight years, editing stories taught me how to write them much better. My job at Story also gave me insight into what I could expect when the day came that I’d be working with an editor myself.

In putting together One Story’s next online course, Become Your Own Best Editor, I thought a behind-the-scenes look at the editorial process—using actual marked-up manuscripts—would be as instructive for other writers as it was for me. And I had the perfect story in mind: Laura Spence-Ash’s debut, “The Remains” (issue #188). Laura was great to work with, a writer who was open to feedback and who improved upon our suggestions, making her story even better than we envisioned.

In addition to drafts of “The Remains,” the ten-day course (June 12 – 21) will include daily online text lectures, assignments, and a message board where you can share ideas and manuscripts with other writers who are committed to becoming better editors of their own work. To find out more about this course, go here. Deadline to sign up is noon on June 12.

I hope you’ll join us!

Issue #206: Bursk’s Cutting Board by Scott Cheshire

issue206Nothing taught me more about the inner lives and desires of people than waiting tables. From the maniac chefs in the kitchen, to the customers demanding substitutions, to the bartenders passing around kamikaze shots, a restaurant is full of drama and bursting with energy. At the center of it all, of course, is the food that is being served. The pleasure of eating and the awakening of the senses. But what happens when a bite loses its taste? When a man whose entire life has been focused on cooking finds himself the one being cooked for? This is the dilemma in our new issue, “Bursk’s Cutting Board” by Scott Cheshire. As the narrator awaits what could be his final meal, he reminisces on his past and his marriage, sifting through his memories as the smell of his wife’s cooking winds through their apartment to the bedroom (now sickroom). Bursk has lost his appetite, and though he hides this from his wife, this loss intertwines with all his other regrets and fears. He worries: was he a good husband? He worries: what will happen when I am gone? In the end Bursk connects it all–his past, present and future—in a rousing speech that clutches at joy and salutes his hopes and dreams. I hope you’ll read Scott Cheshire’s Q&A with us on how he wrote this compelling and moving story, and also this interview where Scott discusses publishing his celebrated debut novel, High as the Horses’ Bridles, and what it’s like to be a One Story Literary Debutante. Until then, let’s all raise a glass to first books, and to great meals, and to the smell of garlic lingering on our fingers.

One Story Debutante Ball 2015: The Pictures!

Toi Derricotte & Cornelius Eady

Toi Derricotte & Cornelius Eady

Thanks to everyone who came out to our Literary Debutante Ball in Brooklyn on May 15th. We heard inspiring speeches by Pulitzer Prize winner Gregory Pardlo and Mentors of the Year Toi Derricotte & Cornelius Eady, ate delicious food, mingled with publishers, editors, readers and writers, toasted with beer from Brooklyn Brewery and cocktails from Tito’s Vodka, and danced the night away with the Blue Vipers of Brooklyn and DJ Julie Shore of the Will Butler Band. Most important, we celebrated the first books of One Story’s 2015 Literary Debutantes: Mia Alvar, In the Country (Knopf), Matthew Baker, If You Find This (Little Brown), Austin Bunn, The Brink (Harper Perennial), Scott Cheshire, High as the Horses’ Bridles (Henry Holt), Diane Cook, Man V. Nature (Harper), Katie Coyle, Vivian Apple at the End of the World (HMH Books), Andrew Roe, The Miracle Girl (Algonquin), Matt Sumell, Making Nice (Henry Holt), Ted Thompson, The Land of Steady Habits (Little Brown), and Anne Valente, By Light We Knew Our Names (Dzanc). Here’s some pictures to remember that special night. Enjoy!

The lineup for our 2015 Literary Debutante Ball!

There's Got to be a Morning After (640x427)Friends! Writers! Countrymen! The One Story Literary Debutante Ball will take place next Friday, May 15th at Roulette in Brooklyn. Each year we sell out of tickets. We’re now a week out and closing fast–it’s time to get yours, today! You don’t want to miss the literary event of the season. There will be delicious food, amazing music, wine, beer and cocktails, along with readers, writers, publishers and editors celebrating the magic of literary friendship together. The highlight of the evening will be the presentation of the One Story Mentor of the Year award, and the formal announcement of our 2015 Literary Debutantes–One Story authors who have published their first books in the past year, each escorted by another writer or editor who has been a mentor for them. There will be:

    • Cocktails by Tito’s Vodka
    • Beer from Brooklyn Brewery
    • Music by The Blue Vipers of Brooklyn
    • DJ Julie Shore of the Will Butler Band
    • Mentors of the Year Toi Derricotte & Cornelius Eady (co-founders of Cave Canem), introduced by Gregory Pardlo, winner of the 2015 Pulitzer Prize!
    • And our 2015 Literary Debutantes:
      • Mia Alvar–escorted by Jaime Manrique
      • Matthew Baker–escorted by Bethany Strout
      • Austin Bunn–escorted by Emily Cunningham
      • Scott Cheshire–escorted by Sarah Bowlin
      • Diane Cook–escorted by Rebecca Curtis
      • Katie Coyle–escorted by Allison Amend
      • Andrew Roe–escorted by Michelle Brower & Andra Miller
      • Matt Sumell–escorted by Nicole Aragi
      • Ted Thompson–escorted by Darin Strauss
      • Anne Valente–escorted by Seth Fried

We can’t wait to see all of your shining faces! Not sure what to wear? Check out these pictures from last year–dress is Brooklyn formal, which means everything from tuxedos to tuxedo t-shirts.

All funds raised help keep the doors of One Story open, and aid our mission to celebrate the art of the short story and support the writers who write them. So get out your sequined Chuck Taylors, and get ready to hit the dance floor! We’ll see you on Friday, May 15th!

Issue #205: Tell Us You Were Here by Anne Valente

205-cover What haunts us isn’t always supernatural. Loss and regret can float through the dark the same as any phantasm, and they both come to roost in Anne Valente’s marvelous story, “Tell Us You Were Here.” Contributing Editor Karen Friedman took this piece through from start to finish, and so I’m turning the introduction reins into her hands. We’re thrilled that Anne will be one of our Literary Debutantes at the One Story Literary Debutante Ball on May 15th (get your tickets now!) for her collection, By Light We Knew Our Names (Dzanc Books), which Matt Bell called: “a striking debut, reminiscent of Aimee Bender and Lorrie Moore, but with a bright promise all its own.”-HT

Do you have a ghost story? I do. One night, when I was eighteen years old and crying in bed, the springs of my mattress compressed beside me and a hand touched my leg. This contact was the culmination of months of eerie activity in my room – mostly missing items suddenly reappearing and unexpected noises. Senior year had been rough. Within one week, my grandfather died and my parents announced their divorce. The ghostly hand on my leg was not menacing, but somehow caring. It freaked me out.

Our latest issue, “Tell Us You Were Here” by Anne Valente is all about ghosts and what beliefs become necessary for a person to survive. The story centers on an unlikely trio of women ghost hunters, each with her own reason for searching out proof of the unknown, each damaged in her own way. The women seek a ghost named Patience Worth, who in the early part of the 20th Century supposedly penned novels and plays through the medium (and actual historic figure) Pearl Curran.

The narrator, a non-believer and a geologist by training, has recently fled her adult life and returned home to St. Louis. She is working at a coffee shop by day and getting stoned in her parents’ basement every night. Anne expertly interweaves fact and fantasy, the narrator’s concrete knowledge of geology with a spiritual search in which proof is often elusive.

My daughter, too, looks for proof about the things she loves, but fears may not be real. Like Narnia. Or the Tooth Fairy. We’re careful to walk the line between honesty and her imagination. My practical side recognizes the flimsiness of my superstitions. But belief in a little everyday magic has made my life richer, given me strength, even been a comforting hand at a time when I needed it. So when my daughter asks, I paraphrase the old line about there being more things between heaven and earth than we can imagine. I hope, like the narrator in “Tell Us You Were Here”, that even in the face of overwhelming reason, the chance of what might be possible is enough.

For more on Anne’s historical inspiration and how her story developed, please visit our author Q&A. We hope to see you on May 15th in Brooklyn, where we’ll be celebrating Anne as one of our literary debutantes! Read an additional interview with Anne about publishing her first book here.

 

 

One Story issue #200, “A Party for the Colonel” by F. T. Kola shortlisted for The Caine Prize for African Writing!

2015_KolaWe are thrilled to announce that One Story’s 200th issue, “A Party for the Colonel” by F. T. Kola has been shortlisted for the prestigious Caine Prize for African Writing. “A Party for the Colonel” was Kola’s debut publication. Each shortlisted writer receives £500 and the winner of the £10,000 prize will be announced at an award ceremony and dinner at the Weston Library, Bodleian Libraries, Oxford, England on Monday, July 6th. Two previous One Story authors have been awarded the Caine Prize in their careers: Binyavanga Wainaina and Chimamanda Ngozi Adichie. We are so thrilled for F.T. Kola, and will be keeping our fingers crossed for her until the winner is decided!.

Introducing 2015 Literary Debutante: Anne Valente

bylightOn May 15th, at our 6th annual Literary Debutante Ball, One Story will be celebrating 10 of our authors who have published their debut books over the past year. In the weeks leading up to the Ball, we’ll be introducing our Debs through a series of interviews.

This week we have the pleasure of talking with Anne Valente, author of By Light We Knew Our Names (Dzanc Books) and the upcoming One Story issue #205 “Tell Us You Were Here.” Thank you to Anne for taking the time to answer our questions about her brave and beautiful collection of stories.

Where were you when you found out By Light We Knew Our Names was the winner of the Dzanc Books Short Story Collection Prize? How did you celebrate?

I was at home in my living room when I received the phone call from Dan Wickett at Dzanc Books that the collection had won. I absolutely couldn’t believe it. It was Memorial Day of 2012 and I was living outside of Columbus, Ohio. Since it was a holiday, I already had plans to go into the city that day with my husband and our friend Lareese, but we made it a super-day of celebration—we went to the COSI Museum, we saw a movie, we got vegan cupcakes, and we went out for sushi.

This collection is full of stories that are somewhat horrific—disappearing children, violence against women, dissecting live octopuses—yet you write with incredible warmth. It’s such a unique balance that I’m curious, who do you consider to be your influences as a writer?

I’ve always admired Lorrie Moore’s ability to blend laugh-out-loud humor with extreme pathos—some of the funniest lines in her stories and novels are sliced right next to the saddest. Though I don’t write humor, I’ve taken to heart her talent at holding two seemingly disparate elements together in fiction. I’ve also taken a cue from the warmth in Aimee Bender’s prose, where despite the horror of some of the things her characters face, everyone seems so capable of love and so terrified of losing one another. There is such optimism for humanity in her fiction.

The title story in this collection, “By Light We Knew Our Names,” floored me. I reread it several times mouthing Wow, wow, wow as I moved through. It’s a powerhouse story about a group of young women living in the town of Willow where it seems that sexual violence against women is not only expected, but the norm. To cope, the women meet at night and punch pillows, hit trees with bats, and talk about getting out. Many of the stories in this collection contain some element of violence against women but this one in particular builds an entire world around just that. What was the seed of this story and what was your greatest challenge in writing it?

Thank you for these nice words! It definitely wasn’t an easy story to write, and as you mention, I’d touched upon violence against women in other stories. But at the time of writing this story, which was in early 2010 before many of the recent conversations about sexual violence began to happen, I felt so frustrated that what I was seeing and intuiting about gender disparity in the world wasn’t being heard. I wanted to make it so over-the-top and so blatant that it couldn’t be ignored. I wanted to set a magnifying glass to violence against women and sear it open. My greatest challenge was to avoid alienating the reader into not listening, or into dismissing these young women and their anger.

There are 13 stories in this collection. When did you realize you had a collection and how did you go about arranging the pieces?

This collection went through several revisions of weeding stories and writing new ones before I put together the final version that Dzanc accepted, and even in the editing process, I still made replacements. In terms of arrangement, I made decisions based mostly on theme, on tone, on length, and on the movement of one story to the next. For the most part, the collection progresses from adolescent narrators and protagonists to older characters reaching and experiencing adulthood. I wanted to preserve this movement across the collection while also making sure that no stories overlapped or grew repetitive, from one to the next.

What are you most looking forward to at the Ball on May 15th?​

I’m beyond delighted to take part in a celebration of literature, words and debut authors with one of my favorite literary magazines of all time. One Story has been a long-time favorite since I first began writing. I’m very much looking forward to meeting the other debutantes, whose books and work I’ve read and admired from afar. I’m also really looking forward to meeting Karen Friedman after her tireless, sharp editorial work on my issue of One Story. It will be such a great celebration, and I can’t tell you how thrilled and honored I am to attend.

Introducing 2015 Debutante: Scott Cheshire

horsesbridlesOn May 15th, at our 6th annual Literary Debutante Ball, One Story will be celebrating 10 of our authors who have published their debut books over the past year. In the weeks leading up to the Ball, we’ll be introducing our Debs through a series of interviews.

This week we have the pleasure of chatting with Scott Cheshire, a wonderful and generous person and author. Scott’s debut novel High as the Horses’ Bridles is now available from Henry Holt. The book follows Josiah Laudermilk as he goes from being a twelve-year-old prophet in a religious household in Queens, New York, to a divorced man who goes by “Josie” and owns computer stores in southern California. When his estranged father falls ill and Josie returns to New York to care for him, Josie confronts his past in ways that reverberate into his present and future. Memories of his childhood, his departed mother, his break from the church, and the early years of his marriage collide as he tries to figure out how to be around his father again and how to move forward in life with a clearer vision of his reality. It’s a very relatable family story told through the fascinating lens of religion, history, and love.

Where were you when you found out High as the Horses’ Bridles was going to be published? How did you celebrate?

I was at the Housing Works Bookstore Café, in Soho, when I got the call. Which was fitting as I wrote much of the book there. After the call, I wanted to call my wife and my friends but I resisted that and went outside. I walked around the cobbled streets out front and I tried to be very aware of the moment. I let it sink in. I thought about how long I had been working on the book, how many years. I thought about how long I had been writing. Then I called my wife. I probably got weepy. And then I called one of my teachers, who by then had become a real mentor and friend. I asked him what to do next. He said, start another book, right now, even if it’s shit. That was very good advice.

The title of your book is so perfect. How did you decide on this title and were there any other contenders?

Well thank you so much for saying that. The whole time writing it, the book was called The Ends. I had it at the top of every page. It kept me focused. Everything in the book had to funnel toward that, and so the book became about the many ends of our lives, the end of childhood, the end of love, the end of faith, the end of life, the end of time, even the opposite ends of the country. At some point I realized this was not, in fact, the title of the book, but rather its preoccupation. It also helped that everyone hated that title. I made a list of more terrible titles until it struck me that the title should come from the book of Revelation, since the book itself was birthed from that book and my relationship to it. I read Revelation again and came across the phrase. It seemed poetic, even American, it sounded like a Cormac McCarthy novel (which couldn’t hurt), but actually referred to something quite violent and nightmarish, the depth of sinners’ blood come Armageddon. I liked that tension.

High as the Horses’ Bridles is set mostly in Queens and Southern California, both locations where you have lived yourself. Can you talk about the process of writing a story that takes place in environments with which you are very familiar? And has your recent move back to Southern California from Queens affected your current writing at all?

This is an especially interesting question because I never had plans to live in California again, and yet here I am. Place, I must say, is very important to me. I mean in life and in my reading and writing habits. Place directly affects my mood. For instance, just thinking about the splintery beach of Truro, Mass., gives me peace. I have a photo of that place on my laptop screen. As far as Queens and Southern California, they were the landscapes of the most formative times in my life and so it made sense to write about them. Not to mention, for me, life is sort of a dialog with the physical world. And so my work tends to revolve around characters engaged with the world around them, the trees, the beach, the sidewalks, and subways. As far as returning to California, well, I’m writing about Queens again, but with the beach just minutes away. This makes for a better mood and hopefully makes for better writing.

One of my favorite chapters in the novel is very removed from your own experience—it’s a vivid depiction of a tent revival in nineteenth-century rural Kentucky. What kind of research did you do to create such a believable environment and characters in this section?

This was the last thing I wrote and it happened quite fast. It took about a month of long marathon writing sessions in which locked myself in the bedroom and had my wife bring me lots of coffee. But that only happened after a tremendous amount of research. I took lots of notes but mostly just figured I would use what stayed with me. After writing it, I reached out to a few historians of American religious history who not only responded, but they did so with great enthusiasm. They sent me notes and corrections on things I might consider, or about stuff I got plain wrong. I could not have done it without them.

To me, your novel is ultimately about the often unrealistic expectations that parents place on their children—or even expectations that the children perceive, whether they exist or not—and how families and individuals deal with the dynamics that result from these expectations. Do you agree with this assessment? Have you heard any interpretations of the book that have surprised you?

Well, because the book centers on one family’s religious legacy, people often talk of the book in that context, that it’s a book about religion, but really for me it’s a book about family, first. It’s about fathers and sons. Mothers and sons. So it makes me very happy that you describe it this way. I have heard many differing opinions on the novel. I have been hugged by an atheist who told me he was happy that someone finally wrote a novel about religion from the atheist’s perspective. I have received letters from people thanking me for writing a novel about religion finally from the perspective of the faithful. I have sent at least one woman back to church. All of this pleases me. Probably my favorite response though was from a man in Boston, who bought five copies, one for each of his boys. He said they were going to read the book together. It doesn’t get much better than that. I know writing the book certainly brought me closer to my own family.

What are you most looking forward to at the One Story Ball on May 15th?

I love One Story and have been reading it for years, so it’s thrilling to be a part of this year’s ball. Not to mention I get to put on a tie, and get a haircut, although I need to get new shoes. Since the move out west, I’ve been wearing flip-flops, mostly. Maybe I’ll get a pair of fancy ones to go with my suit.

Introducing 2015 Debutante: Katie Coyle

vivianappleOn May 15th, at our 6th annual Literary Debutante Ball, One Story will be celebrating 10 of our authors who have published their debut books over the past year. In the weeks leading up to the Ball, we’ll be introducing our Debs through a series of interviews.

This week we have the pleasure of chatting with Katie Coyle, author of One Story issue #192 Fear Itself, and the debut Vivian Apple at the End of the World from Houghton Mifflin Harcourt. When Vivian Apple discovers her parents are missing and two holes in the roof in their place, she sets out to get answers on a road trip across “post-Rapture” America with her best friend Harp and a mysterious boy named Peter. Vivian’s quest to find her parents brings her to larger questions about identity, belief, and growing up and highlights Katie Coyle as an exciting new voice.

Where were you when you found out your first book, Vivian Apple at the End of the World, was going to be published? How did you celebrate?

I was sitting on my couch, opening up my e-mail, after an aborted attempt at doing Pilates. I don’t know that I ever attempted Pilates again after reading that e-mail. I celebrated by taking a train downtown in the middle of the day to meet up with my husband, who was so crucial to me in getting the book written and out into the world. We ate cheeseburgers and laughed like idiots and later that night I’m pretty sure I got really drunk.

Your story “Fear Itself”, issue #192 of One Story, also revolves around teenage girls. Why did you decide to focus on teenage girls in both “Fear Itself” and the novel?

In both instances, it was extremely intentional. Vivian and the girls in “Fear Itself” are all dealing with the same fundamental problem, which is finding that their own wants and fears and personalities don’t seem to fit the cultural understanding of what a girl should be. This has been a fundamental challenge in my life, from my teen years until today, and I’m always fascinated by stories that touch on it. I’m really weary of the teen girl stereotype that persists in pop culture, all these ditzy and dramatic backstabbers. Having been a teen girl myself, having known so many teen girls, I’m interested in that space between the stereotype and the actual, far more complicated truth. The characters I write tend to be girls who have felt pressured to limit themselves, and then over the course of the story they inevitably snap, often in (to me) funny and compelling ways.

Throughout the book, Vivian is questioning her beliefs and religion. What inspired you to explore this?

I started writing Vivian Apple about four years ago now, shortly after a 2011 prediction from a man named Harold Camping that the Rapture and apocalypse were imminent. After his predicated date came and went and nobody seemed to have been raptured, I read an article about a family wherein the parents had believed Camping, had given him a lot of money and were anxiously anticipating being saved, and their teenage children were far more skeptical. The article was kind of jokey, but I thought the dilemma of the kids was a really powerful one. Not only were they setting themselves in opposition to these huge ideas about God and salvation, but they were taking a stand against their parents, too. I have always been interested in the way young people often have to reject the values of the generation that came before them in order to define themselves as their own autonomous individuals, and I saw a lot of potential in writing a story about a family divided along similar lines.

What are you working on now?

I’m trying to finish up a draft of my third novel, a fantasy—which is also and perhaps unsurprisingly about a teenage girl—before August, which is when I’m due to give birth to my first child.

What are you most looking forward to at the One Story ball?

I’m looking forward to meeting the other debutantes, who are all extremely talented and intimidating and good-looking. I’m also looking forward to snacks; I assume there will be snacks.