Skip to main content

Interview with Russell Banks (Lost Memory of Skin)

What a fascinating, honest man. Perhaps it comes from the seasoning of decades of respect and positive notoriety as one of America's most respected novelists, however I can't recall ever speaking to any artist in whatever medium who was more reflectively honest about his work.

I don't know if you've had a chance to read his latest book, Lost Memory of Skin. That was where our conversations started. I expressed the hope that readers of our transcribed conversation (in a simpler word - this) will read it after having read the novel. I hate giving away the plot. So I asked Banks, for the benefit of those who haven't read the book, How much would he like them to know about it going in?

He described it as; "A story about a young man who has become trapped by his own mistakes and naivete. He is a convicted sex offender, placing him living with these homeless men under a causeway in South Florida." That young man is known as The Kid.

Although he's known for writing about the fringes of society - to coin a term, the 1% of the 99% - what made him pick this particular plot line? Why the life of a sex offender?

"I didn't pick it; it picked me. It happens that I spend six months of the year in South Florida and I saw these men living under the causeway. I went down there, visited them, talked to them. And I thought, 'Oh my God here we go again - the unintended consequences of good intentions.' Under the rules of their parole, they had to stay at a distance from anywhere children usually were, so this is where they had to live.

"From there, I started doing more research. The Kid appeared to me full-blown as a character, right from the start. We all know someone who could commit, or almost commit but not commit, his crime. I think from the start of the book we all know that it's not a ,,, major crime that The Kid committed.He wasn't a serial rapist, or sex murderer. he's just like a lot of kids today, i imagine, who spend too much time on the internet, maybe get addicted to porn and then their curiousity takes over.

"But to answer your question, basically it's a story. Like Samuel Goldwyn said, if you want a message, call Western Union."

As you've probably noticed, the lead character is just known as The Kid. Other characters include The Professor, The Writer, and The Shyster. The latter begins with a 'real name' until that becomes effectively lost. Why did Banks make that choice.

"The simple answer is that because of their secretive lives, their real names become scandalous ones. But beyond that, that's what these alienated cultures do - street gangs and so on - they give each other nicknames and those become who they are. Also, I was trying to lift the story to the world of fable; to suggest other worlds and other places - take it to a place called Magical Realism. So then it's not just an 'expose of the dark belly of South Florida.'"

South Florida is a fascinating place for literature. I mentioned to Russell Banks the observation I made in the first paragraph of my review. When I pick up a novel and see that the setting is Florida, I know that I'm going to be exposed to scenes of utter depravity. Or (and yes I said this), maybe I just need to get out more. He's a kind man, so he laughed. He's an intelligent man, so he expanded on the suggestion:

"South Florida is right on the edge of the further world. It's right there on farthest tip of North America, opening up to the Caribbean and beyond. And it's still a fairly wide open place; wonderfully corrupt. It's typically American - it's an inverted place where there's all this immense wealth surrounding immense poverty. America is much closer to Las Vegas than the City on the Hill envisioned by the original settlers and founding fathers."

(There's a question I love to ask really thoughtful people. As such, I don't pull it out of the bag very often. It's a question that's like a one iron - only to be used when one is feeling confident that the result will be worth the risk. Here it comes:)

The theatre director and reviewer Harold Clurman said that if a director gets 70% of the original vision he had for a play before it went into rehearsal, if he has that by opening night, he's won. So how do you think you did with this book? Did it give you what you wanted it to do?

"Personally, I've never been able to assess any of my work until five or ten years have gone by. I can't look at it as though through the eyes of a stranger until at least five years out. I don't feel confident - I can't say - although - this was the first time my publisher has had to call me and say, 'Russell, we need to have the book out by September. Stop changing it and re-writing it.' It wasn't that I was unhappy with it. I just kept finding more and putting it in. Actually, I will say this. It was close enough and closer to what I had imagined when I first saw the story than any novel I've ever written in the past."

Where he went from there is why I made the original comment at the top of this piece about Russell Banks' incredible honesty. The supporting character of The Shyster is a disgraced State politician who finds himself under the causeway because he attempted to hire a little girl from her mother for sex. It was a police sting operation.

"I could not get inside the head of The Shyster. I've never felt blocked out before. You know, I've understood people with personality disorders. Sociopaths, schizophrenics, I can live inside them. But The Shyster, I couldn't. I don't know if it's a failure of the imagination or that the nature of his personality just wouldn't let me in."

This to me was a fascinating insight. All writers of fictitious characters claim in one way or another to 'write down what the character says to them'. I know that's exactly how I've described my own process when writing plays. That said, it was intriguing to me that Banks took that a step further. Allow me to explain. I've actually quoted from the book the part where The Professor states that pedophilia is a fairly recent historical phenomenon. Furthermore, this rather scholarly section of the book I completely bought into as the author's own opinion based on research etc. So I asked Banks about it.

"That's The Professor's opinion, not necessarily mine. Actually, he just puts that out there as a possibility, a sociological analysis. He also says that historically, whatever is illegal is what people are doing. My own feelings about it are still unformed.  It depends on whether I'm looking at it from the point of view of the victim or the perp. I understand abuse. One of my four daughters was abused. My wife was abused. In fact, she's written a book about it. She's a poet. But we rarely in any literature get the point of view of the perp."

Last but not least, I was interested in the opinion of someone who writes about the 1% of the 99% vis a vis the Occupy Movement. Russell Banks was a signatory of a letter of support to Occupy Wall Street by several esteemed writers.

"It's the first serious statement from a large and mixed population against the vast disparity of wealth that has grown since its start with the Reagan Administration. It's especially significant since it involves the youth of America - well, and really the Western world. The youth has been acquiescent for the last ten or twenty years. I grew up in the 60s, the protest generation. We forget that Martin Luther King was in his 30s, and those other historic figures too. Their followers were even younger. And now they're drawing along other people too.

"You know, I was talking about this just last night with a friend, my British publisher. I hope that this does not become the kind of narrow, single issue protest defined by the media. When the Iraq war started there were huge numbers, thousands in the streets protesting it or just confused as to what the issues were. But (the U.S. government) could still march into Iraq and not worry about it.

"I think there needs to be some kind of sacrifice that identifies the anger people are feeling. The Arab Spring was the start of this movement, and in Tunisia the act was one of self-immolation, or in Egypt the mass violence in the streets. But I don't know.

"The good part of it is that it's horizontal and not vertical. But can it actually really make a difference, affect policy decisions? It'll be hard to make it through the winter. No, I support it, but I don't think it can."

I begged to differ. I believe we live in a wondrous time. In any event, I got to spend a wondrous half an hour in conversation with the voice of a great mind. I meant Russell Banks' voice, not mine. 

Be seeing you.


Popular posts from this blog

The Blocks by Karl Parkinson

The Blocks

Karl Parkinson (New Binary Press 2016, Trade Paperback) 274 pages, cover price N/A

There's a tremendous irony in our lives you know, and it is one as large and predominant as the oxygen we breathe yet equally as invisible, equally ignored; an irony as imperceptible as the blood within our veins that itself only comes to our notice when the skin breaks and the blood trickles free before we hide the wound with a bandage and secure the blood back where it belongs. That irony is this: Our most basic desire, expressed in equal parts of hope and fear, is that we want to continue to live. And why? Because we want our individual lives to be different than what they are.
Karl Parkinson's first novel, The Blocks is a mad, tragic, stylish and daring exploration into that self-same need to survive and yet to change. The Blocks of the title themselves are neither those of the prison nor a child's alphabet; at least not literally although the reader may rightly infer those meta…

Nutshell by Ian McEwan

Ian McEwan (Knopf Canada edition 2016, Hard Cover) 197 pages, $29.95 cover price
We have to talk about the concept first. Oh I had a long and lively internal debate about it, you can be sure of that. After all, all books have concepts that we accept without too much fuss – talking animals, sentient corpses, thought-filled trees, the whole Harrod's bought stuffed menagerie of Winnie the Pooh carrying on like a picnic gathering of the British Women's Institute with special invited guests from the Royal Society of St George – we accept all of those without too much fuss. I've even admitted to sniffing up a tear or two over The Brave Little Toaster, so if one can be moved by a bloody kitchen appliance then why not a sentient foetus as the central character of Ian McEwan's Nutshell?It probably won't surprise you that I have a theory to go with that, slightly more substantial than an amuse-bouche if not quite a meal in itself. My thinking is that we go with the ta…

White and Red Cherries by Tanja Tuma

White and Red Cherries: A Slovenian Civil War Novel

Tanja Tuma (Self-published 2016, Trade paperback) 301 pages with glossary and bibliography, cover price n/a
It dawned on me like a thunder strikes a tree: this petite young girl embodies a mission, her reason to exist. Every one of us embodies his mission by what he does. We are what we do. Not chemical elements, but our deeds define our being. We are neither the faith we trust in God, nor the love we give and take. The least of what we are is the genetic code we get from our parents, which in turn lives on in our descendants. No. We are what we do at this moment in this bloody world. Our deeds can defy eternity. They can mirror our will and freedom forever. Those words are thoughts by the elderly Martin, born during the Second World War and raised by the partisan heroine Valeria Batič as her son, when his natural mother Ada quite literally tossed her baby from a train window to Valeria as the train pulled out for Vienna. Ada you see w…