Karen Russell is one of America’s most lauded young writers. Her first novel, Swamplandia!, was a Pulitzer Prize finalist and has been optioned by HBO. Her fiction combines a literary sensibility with a generous helping of the weird and surreal, which has made her popular with both literary magazines and fantasy and science fiction fans. This cross-genre approach is one that she sees in the work of many of her favorite authors, such as Kelly Link.
“You’re going to sacrifice a mimetic representational realism to tell another kind of truth,” says Russell in this week’s episode of the Geek’s Guide to the Galaxy podcast. “It’s like an optical trick to let you see something … that you might not be aware of if you were reading about the same plot set in a mall in New Jersey.”
Her first collection, St. Lucy’s Home for Girls Raised by Wolves, dealt largely with adolescents coming of age in a whimsical version of Russell’s native south Florida. Her second collection, Vampires in the Lemon Grove, ventures farther afield, with one story set in an Italian resort town and another set during the Meiji Restoration in Japan. The tone of the second book is darker, with several of the tales veering into outright horror, but stories about Antarctic tailgaters or U.S. presidents reincarnated as farm animals continue to revel in a joyful absurdism.
“Sometimes I wish you could just write the parody of whatever you’re writing,” says Russell. “It would probably be better in some ways.”
Listen to our complete interview with Karen Russell in Episode 79 of Geek’s Guide to the Galaxy (above), in which she recalls her early days as a secret nerd, confesses to feeling like the Bernie Madoff of fiction, and reveals that she’s highly ticklish. Then stick around after the interview as guest geek Lynne M. Thomas joins hosts John Joseph Adams and David Barr Kirtley for a panel discussion on the weirdest stories ever.
Karen Russell on being a secret nerd:
“I was the kind of nerd that wasn’t even courageous. I couldn’t even courageously claim my identity as a nerd … I remember I loved this Stephen R. Donaldson book called The Mirror of Her Dreams. It’s a two-book series, and it’s about this woman who … uses mirrors to see other worlds, and then she can enter those other worlds, which is basically a lot like writing, so I had this very concrete way to think about art as creation … But I remember being so embarrassed — hot-in-the-face embarrassed — when somebody saw that I was reading that … In Miami there seemed to be a stigma just if you were reading generally — that was suspicious enough — but certain of those covers aren’t doing you any favors. You know, there’s a woman in front of a dragon on the cover of your book. I think that had certain connotations, at least in my Miami high school, that I was eager to avoid.”
Karen Russell on her short story “Reeling for the Empire”:
“There’s an argument that the birth of feminist consciousness in Japan begins at this moment, because these women bind together to revolt against these conditions. There are these factory protests — completely female factory protests — because these places were riddled with tuberculosis and they basically held the women hostage. They were essentially slaves, and they worked ten-hour days in many cases … It’s a real horror story, and I think that to do that conversion and make it about this monstrous metamorphosis, where these women become these hybridized animal/machines, I think that was a way for me to think through what that must have been like when production gets mechanized, and suddenly time ceases to function the way it did before, and the factory work day is in place, and these women’s bodies became cogs in the larger machine.”
Lynne M. Thomas on pushing the envelope:
“There’s a story that I bought from Rachel Swirsky that hasn’t come out yet where I’m basically going to have to put a trigger warning on it for every possible kind of trigger there is — a trigger warning is for stories with things like domestic violence or sexual assault where people who have been subject to those crimes in real life might have a PTSD sort of reaction. And with Rachel, I was having this conversation where I was saying I’ve never seen these three types of stories done successfully in a way that didn’t completely upset me in the wrong ways, and she was like, ‘Challenge accepted!’ And she wrote this story that … I can’t even … I read it and I was like, ‘This is the most amazing, disturbing thing that I have ever read,’ and I bought in on the spot. I couldn’t believe that she’d managed to take a whole bunch of things that are so collectively awful and turn them into art. It’s called ‘Abomination Rises on Filthy Wings.’ Yeah, it’s not messing around.”
John Joseph Adams on the editor’s responsibility:
“As an editor, it kind of feels like a betrayal of your readers a little bit if you publish something that you don’t fully understand yourself, because when you present it to them, they want to believe that it’s going to make some sense, if they’re a good enough reader, and as an editor I don’t feel that I can be like, ‘Well, I think I understand it, but not really, so let’s leave it out there for the readers.’ And so the M. Rickert story is really the only time I’ve ever made an exception to that rule, and only because I’m certain that it’s brilliant, and the whole point of it is to make you feel that sense of strangeness, and it definitely succeeds in that.”
Karen Russell's <em>Vampires in the Lemon Grove</em> Is a Darkly Surreal Treat
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Karen Russell's <em>Vampires in the Lemon Grove</em> Is a Darkly Surreal Treat
