E.L.
Doctorow is the author of a number of works,
including, most recently, the story collection Sweet
Land Stories
© Random House
and the
novels
City of God,
© Penguin
Billy
Bathgate,
© Plume
and The
Waterworks.
© Plume
His other
novels include World's Fair, American Anthem, Loon
Lake, Ragtime, The Book of Daniel, and Welcome
to Hard Times.
He has
been awarded the National Book Award, two National Book
Critics Circle Awards, the PEN/Faulkner Award, the Edith
Wharton Citation for Fiction, the William Dean Howells
Medal of the American Academy of Arts and Letters, and
the presidentially conferred National Humanities Medal.
Doctorow lives and works in New York.
E.L. Doctorow
Interview
The five narratives in E.L. Doctorow's new collection,
Sweet Land Stories, are anything but sweet. A single mother murders
a series of suitors, with her son as accomplice. Bad romantic choices
condemn a talented young woman to a rootless life, and separate her
from her child. A "crazy, lovesick girl" steals an infant
from a maternity ward, then tries to persuade her bewildered boyfriend
to accept the baby as their own. A mechanic-turned-religious leader
abandons his followers (though not the donations they've made to his
church). An aging FBI agent is repeatedly frustrated in his efforts
to figure out who left the corpse of a child in the White House Rose
Garden.
Yet as things go from bad to worse, Doctorow's protagonists
remain steadfast in the belief that life will get better, and that they,
by persevering, transforming themselves, or moving to a new place, will
manage someday, somehow, to find their "sweet land." While
none of them quite pull this off, their tenacious hopefulness makes
these storieseach of which has stretches that are relentlessly
downbeat in feelfar more complex and interesting than they might
otherwise be. And it makes this collection a fascinating rumination
on Americans' enduring faith in individuals' ability to create happy,
fulfilling lives for themselves, no matter what the odds.
Recently, failbetter.com had the chance
to "talk" via email with Doctorow about Sweet Land Stories,
his approach to his craft, and the broader significance of his work.
In Sweet Land Stories, you move away from
the familiar urban backdrops of your previous works to explore life
in other parts of the United States. How are the characters in these
stories shaped by the places they live?
The people in these stories are not are not shaped
to a place in the way, for example the people in Sherwood Anderson's
Winesburg, Ohio are defined by where they live. Most of the characters
in Sweet Land Stories are looking for their place. They end up where
they haven't been before. The five stories touch down from Washington
D.C. to Alaska. That's why I named the book as I did.
A key theme in Sweet Land Stories is the
persistent American belief in the ability of ordinary people to reinvent
themselves (often corresponding with a move to a different place). Do
you consider this belief to be chimerical, as suggested by your portrayals
of such characters as Earle's mother in "A House on the Plains,"
Jolene in "Jolene: A Life," and Karen in "Baby Wilson"?
The pop psych word reinvent doesn't cover what is
going on in these pieces. Mama and Earle, in "A House on the Plains,"
are righteous murderers looking to score. No thought of changing their
ways. In "Jolene: A Life" it is the disasters Jolene lives
through that leave her a changed woman. And so on.
You once said, "[My] books always come out
of a very private mental excitement." Does this hold true for your
short stories as well?
Yes, everything begins from an aroused mental state.
It can come from a dream, an image in the mind, a fragment of conversation,
a photograph, anything. And I write to understand why whatever it is
excites me. Occasionally a novel is the result, occasionally a story,
the difference being only that with a story the evocative excitement
is more quickly understood and resolved.
For more than four decades, you have produced critically
acclaimed books, stories, and essays at a remarkable pace. Have you
followed the same writing routine over the course of your career, or
have your writing habits changed over time? Have you ever experienced
writer's block, and if so, how have you overcome it?
When I have had writer's block it is because I have
been writing the wrong thing. When you're writing what is yours to write
there is no block.
The stories in Sweet Land describe a world
in which people's lives are routinely destroyed by cruel twists of fate,
the evil machinations of others, or the inscrutable actions of unfeeling
institutions. What makes life in your Sweet Land so bleak? Do you intend
the stories, taken together, to be a comment on the human condition
in general, or on American life in particular?
Watch out for phrases like "cruel twists of fate,"
"evil machinations," and "the human condition."
They cannot be part of a serious literary discussion. And they lead
you to false assumptions. Because when a novel of mine takes place in
the past it is necessarily about the present. And I don't intend my
stories to comment on anything. The comment you find in these stories
is your comment. So is the bleakness yours. I think the emotional tone
of the book is more complex than that. "Baby Wilson," for
instance, is funny, at least as I read it.
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