Uncanny Magazine Issue One

by Uncanny Magazine

  I think we return to stories that deal with the longing for a return to innocence, to a time before that kind of wound has been inflicted, because it is both alluring and an illusion. Peter Pan is notoriously the boy who wouldn’t grow up (and was named that as a kind of working title for the original play). I wanted to write a boy who would choose to deal with the difficulties he’s facing in the adult world he’s entered into recently, rather than one who immerses himself in the beautiful but dangerous illusions of Neverland.

  Uncanny Magazine: In July your short story collection, Before and Afterlives, won the 2013 Shirley Jackson Award for Best Single Author Collection. This volume comprises work from the first 10 years of your publishing career. In looking back at this collection, how do you see your progression as a writer?

  Christopher Barzak: In some ways, I look at those older stories and see myself doing retellings even then, but in a way that isn’t as direct as the retellings I’m doing now. I see stories like “A Mad Tea Party” (which was my first published story, in Lady Churchill’s Rosebud Wristlet) and of course there’s Alice in Wonderland overlaid on a story of domestic grief. Or my story “A Resurrection Artist” where I’ve conflated the premises of Kafka’s “A Hunger Artist” with Sylvia Plath’s poem “Lady Lazarus.” Stories like “What We Know of the Lost Families of — House” explore the tropes of so many of my favorite haunted house stories. So I guess a lot of my development as a writer has been a process of working in conversation with the authors and stories I grew up loving. So the more conscious retellings I’ve been doing in recent years, I think, are really outgrowths of that impulse to combine, to alter, or to refashion something old into something new. Instead of the materials for that being melted down and remolded in distinctly different imaginings, though, my current stories directly address the older material and work within the original shapes and forms more often than not.

  Uncanny Magazine: You have said that you are the type of writer who is inspired by the places he lives. You’ve also described Youngstown, Ohio, where you currently reside, as a declining town. How has this atmosphere affected your writing?

  Christopher Barzak: I’ve spent most of my years alive in Youngstown, Ohio, at this point. It’s where I did a lot of the writing of the stories in Before and Afterlives, and for my novel One for Sorrow, as well as for my forthcoming novel, Wonders of the Invisible World.

  Before moving to Youngstown to go to college, I grew up in a very rural town about forty minutes north of the city. The majority of my stories and novels are set in that rural area and in Youngstown. It’s a corner of Ohio, of America, where decline has been the overarching narrative, rather than progress and growth, largely because the industries that originated in the region fled to developing countries without labor laws in the 70s and 80s, leaving the place they made to disintegrate over time. Having grown up in that kind of narrative, my worldview is a bit different from a lot of American writers who may have grown up in say, well–off suburbs or urban centers, or even in economically healthy rural towns.

  Where I live, the poverty level is incredibly high (sixth highest in America in the most recent study) and because of that my writing often addresses issues of class, because my consciousness has been fashioned by seeing the differences in our American class system, which is often invisible. In England, the class system is glaringly obvious to everyone. In America, we still tend to talk as if everyone is middle class, though in recent years we’re beginning to talk a bit more about it as the middle class erodes. But even before people started to become more conscious of middle class erosion, we had a class system here, a system that benefited some and excluded others, and that has impacted my writing because of my coming from a place at the bottom of the system, a place that’s largely been ignored and forgotten.

  Beyond that, though, the foliage, the landscapes of places, find their way into my writing, and I enjoy rendering that aspect in language too, as a memorial to the landscapes that have nourished me as I lived there. My novel The Love We Share Without Knowing has that quality, too, though in regard to my time living in Japan.

  Uncanny Magazine: When releasing a piece of writing into the wild you are presenting your work to readers knowing that they are going to draw their own interpretation from your words. You recently had one of your books, One for Sorrow, made into the film Jamie Marks Is Dead. What was it like having someone else stand between your words and the audience? How did that adaptive process work?

  Christopher Barzak: It was incredibly cool, to be honest, though I was very happy with the film and I suppose if I hadn’t liked it, I’d be saying something else. But the director, Carter Smith, made something I really loved out of my novel. It was faithful to the spirit of the book. Though there were some changes here and there, many of the scenes were directly lifted from the novel and I love the look of the film they created. It’s moody, atmospheric, and gritty, magical and realistic.

  So I feel good about this adaptation, really (and love knowing how it feels to have someone else standing between my work and their retelling of it). In terms of how the adaptive process worked, the director was also the screenwriter. He developed a variety of drafts of the screenplay and at a certain point consulted me about it, wondering what I thought about it, asking me questions sometimes about a character’s motivation, etc., and I was invited to do a set visit. But I didn’t write the script itself. It was in the hands of others all along and that took some getting used to, but I trusted Carter with it because from our first conversation I could tell he really loved and got the original material.

  Uncanny Magazine: Thank you for sharing your fabulous story, “The Boy Who Grew Up,” and giving Uncanny Magazine readers a peek behind the curtain!

  © 2014 Uncanny Magazine

  Deborah Stanish the co-editor of the Hugo nominated Chicks Unravel Time: Women Journey Through Every Season of Doctor Who and Whedonistas: A Celebration of the Worlds of Joss Whedon by the Women Who Love Them. She’s had essays published in Chicks Dig Time Lords, Time, Unincorporated Volumes II and III, Outside In: 160 New Perspectives on 160 Classic Doctor Who Stories by 160 Writers, Famous Monsters of Filmland, Apex Magazine andThe Liverpool University Journal of Science Fiction, Film and Television. Deborah is also the moderator of the Hugo nominated Verity! Podcast where six women from around the globe debate and discuss Doctor Who.

  Thank You, Kickstarter Backers!

  by Uncanny Staff

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