Ohio
Page 48
7. “Because people only act—they only change—with a gun to their head” (125) says Bill. Do you think this statement is true in regards to the characters of Ohio? Do you think any of the characters grew or changed for the better from who they were in high school? Contrast this bleak statement with the optimistic words of Mr. Clifton later on in the novel: “I see some of you kids I had in class years and years ago, and I can never believe the way you grow into yourselves as adults...It still makes me want to cry tears of joy every time” (232).
8. When driving with Bill through town, Dan observes that “New Canaan was one of the minor places that bore the aftershocks of deindustrialization” (283). How else do we see these aftershocks manifest on both macro and micro levels?
9. Hilde tells Stacey that she often makes “self-denigrating comments” towards her “bumblefuck town,’” and advises her to “break yourself of that habit. You’re here. You’re curious about the world” (192). How are Stacey and the other characters in the novel who do leave New Canaan—Bill, Dan, Rick, Ben—still bound to their hometown even as they explore the world? In what ways do they remain distinctly “Ohio”? What makes you think they feel this way?
10. “Where does a girl who’s lost her religion go to find meaning? What replaces the hole that faith, cast off, leaves behind?” (214). Discuss how religion—specifically, Evangelical Christianity—permeates the lives of characters in Ohio, and what replaces “that hole” for each character.
11. “Clichéd inspirational posters making success sound as if it had nothing to do with socioeconomics” (53). How do the characters in Ohio define success? How do their circumstances inhibit or encourage their individual definitions? Do you feel any of the characters might have been doomed from the beginning by their circumstances, or do you feel they sabotaged themselves?
12. “If there’s a gun hanging on the wall in the first act, in the third act, it must be fired”—a “Chekhov’s gun” is a literary principle that advises writers to make sure every element in their stories comes into play at some point. Discuss how author Stephen Markley makes use of this principle. What would be the “Chekov’s guns,” so to speak, in Ohio?
13. The heartbeat of Ohio lies in its vivid characters. Is there one you relate to most, or one that reminds you of someone you know? Discuss with your book club.
14. Dan Eaton pins two quotes to his corkboard before he leaves for basic training: Thomas Paine’s “Those who expect to reap the blessings of freedom must, like men, undergo the fatigue of supporting it” and Abraham Lincoln’s “I like to see a man proud of the place in which he lives. I like to see a man live so that his place will be proud of him.” Discuss these quotes in relation to the events of the novel.
15. “I once read this book about how literature was this vast conversation that mocked all of the borders we normally think of: state boundaries, our own life spans, continents, millenia” (191). Does Ohio hold up to this definition? What borders do you think it mocks?
Enhance Your Book Club
1. J.D. Vance’s Hillbilly Elegy and Amy Goldstein’s Janesville are nonfiction accounts on many of the same themes as Ohio: deindustrialization, the economics of the Rust Belt, the cultural and political challenges faced by the Midwestern working class in the post-9/11 era—and more. Consider reading one or both of these books with your book club and discussing their parallels with Ohio.
2. Choose an epigraph for the novel—be it a lyric, a line from a poem, a snippet from a news outlet, or anything else, find a quote that you feel captures the spirit, themes, and tone of Ohio. Share with your book club.
3. In the novel, Dan and Hailey bond over a love of Calvin and Hobbes, a comic strip inspired by and set in the same suburban Midwest where its creator, Bill Waterson, grew upi. Read a few Calvin and Hobbes strips—in what ways might Calvin’s surroundings feel similar to New Canaan, and the childhoods of the characters of Ohio?
4. The cover photograph of Ohio is one image from a photo series by Harlan Erskine. Take a look at the rest of series on Erskine’s website: http://www.harlanerskine.com/ten-convenient-stores/tencstores-3. How do the rest of the images feel evocative to the mood and motifs of Ohio?
A Conversation with Stephen Markley
Congratulations on your first novel. Can you talk about what lit that initial spark that inspired you to write Ohio?
I’d been trying to write a version of this book for maybe a decade. I think many young authors typically try to explicate the place they’re from in their early work. Everyone has a sense that we need to prove where we come from matters (usually because it does). I finally began to stumble upon the framework that would become the novel after this bad night I had back home bouncing around a few bars, not unlike a few characters in the book. All I’ll say is inspiration is fickle and unpredictable.
Did you grow up in Ohio or the Midwest yourself? If so, how did it inform the writing process—and if not, how were you able to channel such a strong sense of familiarity with a community like New Canaan?
Yes, I did grow up in a small town in Ohio. Also, once I got my driver’s license in high school and my friends and I could sort of venture out to the surrounding towns and cities I became fascinated by the mythology of places that maybe other people wouldn’t find very fascinating: Mansfield, Cleveland, Columbus, Youngstown, Akron, and every tiny burgh and rural highway that connects them. The history, the burdens, the creepy backwoods stories—so much of it was sitting around in my head waiting to be used.
Can you talk about your experiences in the Iowa Writer’s Workshop? Did you start working on Ohio while still a student?
I went into Iowa extremely skeptical, to say the least, about what I’d get from the experience. Stubbornly, I never thought I’d go the MFA route, but there I found myself, and within two months, I was just chugging the Kool-Aid. I had early pieces of Ohio written before I went in, but it went through a Cambrian Explosion–style evolution once I arrived there. It was a completely life-changing experience, not only due to the people heading the classes but also because of my peers, who turned out to be a crop of such funny, fearless, brilliant people. I can’t even name names because the list is too long and full of too much dirt that would compromise people’s careers in the best kinds of ways.
Besides a fiction writer, you also work as a screenwriter and journalist. How do these other types of writing inform your fiction?
Probably discipline, research, and curiosity. Having always worked with a deadline, I basically can’t imagine not finishing a piece of writing when I’ve set a date to finish it. This means I’m at my desk every day working even when I’d rather not. It may sound like a small thing, but having met all the talented writers who go days, weeks, months without writing a word, I realize what an asset it is. There’s also this old Kurt Vonnegut interview banging around somewhere in which he says (I’m paraphrasing), “Great fiction writers tend to have things on their minds other than just fiction.” In other words, interviewing a healthcare policy wonk about the ramifications of the Affordable Care Act or a filmmaker working on a documentary about violence interrupters on the South Side of Chicago remains one of my best routes into fiction.
Can you talk about what kind of research you might have done to write Ohio?
A better question: “What kind of research did you say, ‘Eh, that might be a little much’?” Which is to say, I’m a total psycho. If I’d had any more time with the book, I would have been looking up shift change schedules at Jeld-Wen Windows and Doors plants because a fifth-string character happens to work at one. As a reader can probably tell, I spent a lot of time on the U.S. Army and the combat experience, a lot of time wandering around Walmarts striking up conversations with employees from which I’d later jank ideas. Most insanely, I practically wrote Stacey’s dissertation on ecological catastrophe in the context of the global novel only to cut 97% of it from the final draft. But for me it’s not so much getting this detail or that detail right, but in fully inhabit
ing the character, in seeing the world through their eyes entirely. So even if I end up cutting 97% of this thing I spent a year researching, I still have it all in mind’s eye. I get how Stacey views her interaction with a waitress spouting off an unexpected line of poetry because I’ve sunk all that time and effort into being in her brain.
The characters of Ohio are so visceral, each so vividly alive, and strikingly unique. Can you talk about how you crafted their individual voices, created their backstories, and decided how their lives would intersect? Is there one you relate to most?
That’s tough. You steal a little from people you know here and there, a little from your own experience, and then the rest just follows. Pretty soon, they are as alive and real to you in your head as, say, a good friend you grew up with. You can predict what they’ll do most of the time, and then at others they surprise you. It helps that I wanted each character to have a central preoccupation (as I think we all do), a wound that’s never healed, and a way of viewing the world that is distinct and hard-won. One of the most surprising scenes to write was when Bill, this brazen antiwar activist, is telling a Dan, a vet, that Dan fought these wars for nothing, that his experiences in these theaters and the people he lost to these conflicts were a waste. I had it in my head that Dan would come back at him hard, challenge him directly. But then I got to the page and Dan’s voice guided the scene elsewhere. He allows Bill keep talking and talking and suddenly the power between the two characters flips entirely. And the result, I think, is much more interesting, much more wrenching. There’s this weird thing where you have to let your characters behave as they would behave, even if it goes against what you had planned.
Similarly, even though many of the characters commit acts of cruelty, violence, or selfishness, you also render them in sympathy and humanity. Can you talk about how you prevented any character in Ohio from feeling like a clear-cut villain? Did you feel it was important for you to do so? Do you feel like there’s any hope left for them?
One of the clearest lines in the book is that notions of “villains” or “evil” are basically childhood fairytales adults tell themselves. I’ve heard people refer to a certain character in the book as a “monster” and though I’m way too polite to correct them, I think the novel speaks for itself about the danger of these simplistic categorizations. Behind what we think of as evil acts there are wounds, there is damage, there is grief, insecurity, fear, and loss. This is not a relativistic philosophy either. One can acknowledge and combat the horrible philosophies and dogmas and individual behaviors of our fellow human beings without doing ourselves the enormous disservice of simply grafting “evil” onto people we don’t like or don’t understand. But in imagining villains and heroes, I always keep in my head that villains love and are loved deeply by others while heroes frequently do terrible, unspeakable things for which they can never forgive themselves.
Did you always envision Ohio to be organized in overlapping sections (plus a prelude and coda), each focusing on one character? What challenges or rewards did you experience structuring the story this way?
The four characters in four sections was always the base of the novel, and the coda and prelude sort of grew out of suggestions from my agent and editor. Sula by Toni Morrison (not a bad Ohio author herself) also played an enormous role. The introduction to that novel just comes at you like a Scud missile, and Morrison talks about how the introduction was the very last part of the book she wrote. I’d had this moment that kept coming up over and over, of the parade following the return of a dead soldier. As soon as I started writing it, I knew that was the way in. Beyond that, I just loved the idea of being lost in each character’s world, of viewing all of their lives backward and forward and getting these miniature climaxes on the way to an accelerating ending. The organization, I hope, gives the book a kind of propulsion, it hurtles the reader forward as he or she tries to decipher how it will all come together. So far, I’ve not heard anyone say, “Markley, c’mon, I saw that coming.” You just want those last forty pages to shock the shit out of you and yet feel totally inevitable in retrospect. To leave you scrambling to unearth all the hidden depths of New Canaan.
Were there any particular books, music, films, or anything else that inspired or informed Ohio?
I’m very bad at this question, panic, and answer it differently every time. Like I think saying Bruce Springsteen and Toni Morrison is not innacurate, but neither is Quentin Tarantino and Dead Prez or Edward Hopper and the poet Lisa Wells. It’s not that one seeks to be influenced but that pieces of art and reportage and the irreducibly bizarre experience of being alive act upon your central vision at all times in ways you can never predict or understand.
Can you talk about what you’re working on now? Do you think you’ll ever return to the characters of Ohio or the town of New Canaan?
I’m still trying to wrap my head around the fact that I’m in this place right now, with a book that, no matter what happens with sales or reviews and all that other glitter, is something I’m deeply proud of, that has this team of incredible people behind it and who believe in it. I don’t want to take any of that for granted.
If you had to name a single emotion or feeling that you feel drives Ohio, what would it be? What overarching feeling do you want to leave readers with after they finish the book? What do you want them to take away?
The interaction between the writer and the reader is the mystical, ethereal, inexplicable place, right? Like I know what I think is in my book and what it should be evoking and how it should be read, but as with every piece of literature, the reader will bring his or her own hopes, biases, determinations, and dogmas to it. Like I can say that it’s a novel about love and loss and war and recession and addiction and ecology and religion and trauma and hope in the dark, but I’m not sure that means much except to taint that inexplicable encounter. Hell, I’m not even sure authors should answer questions about their novels! It breaks the Spell, even if just by a sliver of a degree. Mostly, I want people to close the book and say what all authors want to hear, which is, “Damn. I would throw my grandmother out a window to get an advance copy of whatever this guy writes next.”
ABOUT THE AUTHOR
STEPHEN MARKLEY is an author, screenwriter, journalist, and a graduate of the Iowa Writers’ Workshop. Markley’s previous books include the memoir Publish This Book: The Unbelievable True Story of How I Wrote, Sold, and Published This Very Book, and the travelogue Tales of Iceland. He lives in Los Angeles.
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NONFICTION BY STEPHEN MARKLEY
Publish This Book
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This book is a work of fiction. Any references to historical events, real people, or real places are used fictitiously. Other names, characters, places, and events are products of the author’s imagination, and any resemblance to actual events or places or persons, living or dead, is entirely coincidental.
Copyright © 2018 by Stephen Markley
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Jacket photograph by Harlan Erskine
Library of Congress Cataloging-in-Publication Data is available.
ISBN 978-1-5011-7447-6
ISBN 978-1-5011-7449-0 (ebook)