Boston Book Festival organizers announced today that they've chosen
Richard Russo's story, "The Whore's Child," for Boston's second-annual
"One City, One Story" program.
Russo won the Pulitzer Prize for his novel, Empire Falls. He has written a number of other hilarious, touching novels, as well as one collection of short stores, The Whore's Child, from whence the titular story comes. Russo and his wife divide their time between Boston and Maine. I spoke with him at his home in Maine on Monday.
How does it feel to have your story selected?It's wonderful. It's thrilling. It gives the entirely mistaken impression that I'm a good short story writer.
very proud of that story, but I'm a novelist by temperament.
Essentially, I can't hold the reigns on a story tight enough to make it
stay within the parameters of a standard 25-page or so short story. And,
on those rare occasions when I'm able to do that, I'm just absurdly
Winning the Pulitzer also seems like a mandate for everyone to read your work. Does it feel the same? The Pulitzer suddenly made my name kind of a household name. But I'm a novelist, I'm supposed to be good at that.
are six or seven stories in it, one of which is actually a novella, so
it's not even a short story. Three of the stories in that collection are
actually outtakes from my novels, parts that I couldn't fit in. I have
really only just three or four examples of stories that started out as
stories and ended up stories.
felt the same sort of absurd pride when they came to me and asked me to
be the judge for that. As a novelist with very slender credentials, in
short stories myself, I was just beside myself with glee because I do
love the form.
What circumstances predicate you writing a short story?What usually happens is what happened [with] my most recent novel, That Old Cape Magic.
That started out as a short story. I had in mind, really, a 17 to 25
page story in which this protagonist is going to drive up to Cape Cod
and scatter his father's ashes, and he would discover he was able to do
it without his wife's help, or he wasn't able to do it. And that would
be the end of the story.
story just kept going, and I finally threw up my hands. It went from a
short story to a long short story to a novella to a long novella.
Finally, at some point, I started to realize I was just writing a novel.
That's usually what happens.
write a short story, I just lose control completely, and just finally
throw the reigns overboard and let the vehicle go where it's going to
You seem to admire constraint. Who are your favorite short story writers and do they show a good amount of constraint? I'm always bowled over by Alice Munro's short stories. She's probably the master of the form, at least on this side of the Atlantic.
I think the knock on short stories is that they can be slight when
compared to a novel, but you always feel when reading an Alice Munro
story that there is a novel there that she has condensed, somehow, into
30 or 35 pages, and the characters are just as rich as characters you
meet in novels.
I think Richard Yates was a master of the form. I go back and reread him. . .
I have read all of his novels and none of his short stories.
I think he's an even better short story writer than he is a novelist. Eleven Kinds of Loneliness is one of the best short story collections ever written. I urge you, today! Hang up the phone! Get lost!
also love the great contemporary-ish Irish short stories writers now
too. John McGahern, who's gone now, and Trevor, of course, Frank
O'Connor-those great masters of the form. I'm not sure what exactly they
all had in common.. . . but they all had that wonderful gift.
Are you working on a novel right now?
I'm working on a couple of things right now. I'm 150 pages into what turns out to be a kind of sequel to Nobody's Fool.
It's going to be be fairly short, I'm kind of on the homestretch of that.
what I'm trying to do with this book, to shed a little light by telling
the story of my family and this town and the kind of work that was done
there. What has seemed to be the through-line, the essence of these
mill-own novels, now that I have written a number of those over the last
My two grandpas, maternal and paternal grandparents, came as young men. My grandfather came down from Canada and apprenticed to become a glove cutter, which is why he moved to Gloversville, New York.
One of the two things that he brought with him to upstate New York was an opera tape. He thought that he'd be going to the opera.
never got to know him terribly well. He died when I was little, and my
father's side of the family I never got to know that well.
would mostly see him on holidays, and he would listen to hour upon hour
upon hour [of opera] in the living room-he was the only one in there.
When I would go over, I would be ushered into the room, and he would
call me up. I would sit on his lap for like a minute, and he would have
had enough of me. I'd get shoed back out into the light.
Each grandchild would come in and sit on Grandpa's lap for thirty seconds, and that was the last you'd see of him.
Alas, no. Not for longer than 30 seconds.
Is this your first stab at nonfiction?
it's my first foray into nonfiction. My default mode is that usually,
when I don't know something, I make it up-that's what novelists do, and
that's what I've always done.
this is about real people-not only real people, but real places and
real people that I love, that I owe a certain fidelity to the truth of
their lives-I've had to switch gears. It forces me to realize that I'm
after a different kind of truth. This kind of truth still should be good
storytelling, but I can't invent it wholesale.
are all fiction writer's techniques. Even if what you said was all
literally true, you would still be altering the truth a little bit, at
least, simply by virtue of the structure you chose to tell the
story-where you begin, where you end, where you break chapters, where
you put what next to what, what you choose to summarize, what you choose
to put in scene. All that storytelling stuff is part of good nonfiction
as well as fiction.
I've tried to keep mine unconventional just by keeping myself out of it as much as possible, which is pretty difficult to do.
I've been reading a few memoirs lately, and I've read some wonderful ones. Gail Caldwell's memoir [Let's Take the Long Way Home] was just lovely. Reading it, one of the first thoughts in my head was, if you're going to do something like this, here's how it's done. I probably made, without thinking about it, a few mental notes.
people that I would have been most concerned about-my grandparents, my
mother and father, are gone now-so there's no longer the possibility of
doing them a disservice or an injustice. I'm trying as best I can to be
as true as I can to the spirit of their lives.
I am, I suppose, like Steinbeck and Monterey
and other writers who come from fairly small places, associated with a
particular place. Some people are thrilled that I told stories about
this place, and other people would prefer I hadn't. I don't always have a
Chamber of Commerce view of these towns that I write about. There will
be some mixed feelings about the book.
God, wasn't that a wonderful book? Speaking of great memoirs that are
all courage! I think Andre's Townie is one of the most extraordinary
memoirs I've ever read, and one of the most astonishingly honest
contemplations of violence that I've ever encountered. It's just a
since it came out, Andre and I have been talking about what went on in
the writing of that book, since I'm going through some of the same
note: My family is definitely reading this. In fact, when I told them I
had met Richard Russo (in my old job as Events Director of the Brookline
Booksmith), they were over the moon. Not that I wasn't thrilled to
death myself -- Richard Russo is the best possible spokesman for bookish
Italian Americans, and he and his wife are terribly nice. Yay, Richard