First I'll tell about the robbery our parents committed, then about the murders which happened later.
The robbery is the more important part since it served to set my and my sisters lives on the
courses they eventually followed, nothing would make complete sense without that being told first.
Our parents were the least likely two people in the world to rob a bank, they weren't strange people,
not obviously criminals, no-one would have thought they were destined to end up the way they did.
They were just regular, although, of course, that kind of thinking became null and void
the moment they did rob a bank.
I always have liked beginnings that were grabbers, I always liked beginnings that would, you know,
throw down the gauntlet for the reader. The only problem with a beginning like that is that
then you've got to have a second act, and sometimes if you don't have a second act,
if you can't follow up a really good beginning like that with something equally gripping then you might as
well not have it, because you've just basically created a trap for yourself and sprung it so,
no I just um, I always, I think when I wrote it I knew it was OK.
I thought it was just a sort of typical old fashioned narrative hook, and, you know,
you're going to have a murder down the line here, you're gonna have a bank being robbed
by my parents, so I thought it was good.
It's an American family of 4 people, 2 children, twin boy/girl, mother/father, and the father has been
in the air force since World War II, and the book takes place in 1960.
Eventually after staying in the air force, he gets out of the air force, and then doesn't really
know what to do with himself, he's been in the military his whole life, and they live in a little town in
Great Falls Montana, where none of them have ever lived before, and he just happened to be stationed
there in the air force.
And he hatches upon a scheme to sell stolen beef to the railroad, to sell to the dining cart customers on the railroad.
And he very quickly runs amiss and runs afoul of the Indians who he basically goes into business with to
kill the beef and deliver it to him, and he finds that he owes them $2,000, which is in 1960
a considerable sum of money, for half a beef that is somehow or other gone rancid before they can sell it.
And so in a fit of sort of chaotic lunacy rather than just leaving town in the middle of the night, or
borrowing the money, because he had no contacts in the town, no collateral, he didn't own anything,
he determines he will rob a bank and get the money that way.
And that sets in motion, the book actually.
And what happens to him and his wife, who is his colleague in this bank robbery, is that they
are immediately caught, and once they are immediately caught, then the children are left alone,
and the children fend for themselves.
I mean I invented that, so I don't really know what relation it bears to most peoples normal thinking.
I did discover when I was trying to make plausible to myself the idea that 2 people who didn't
have to rob a bank would rob a bank, that anybody who robs a bank who's not already a hardened,
criminal, who's not John Dillenger or Pretty Boy Floyd, anybody who's a normal person who robs a bank
is crazy because they're going to get caught immediately, so all manner of assumptions about
how you do it and how you get away with it and what happens to you afterwards, are complete lunacy,
because none of those things is going to be true, because as Dell says, without wanting to
quote my own book as though Dell was a creature I didn't write, but he says when you think you're
going to get away with robbing a bank you forget one thing and that is that you're the only
person in town who's robbed a bank, and so you're going to stand out no matter what.
Somehow or another you're not going to be, you've given up your hold on normal, yeah.
For some reason or other that was very vivid to me that you will have the discretion of all of your
normal life up to a point, and I think Dell describes as being on a boat that's getting farther and
farther away from shore, or you're in a lighter than air balloon that rises higher and higher very quickly
away from the surface of the earth. For a long time you could just let go and be there,
or for a long time you could just swim back to shore and be safe, but all at once, imperceptibly, you can't anymore,
and then your life is totally not a life you ever understood.
In the first book, I was just thinking about this, in the first book I ever wrote there was an image which
I just collected out of the culture about putting a frog into a pan of water at room temperature,
and little by little by little by little heating the water up and the frog sitting there perfectly fine
when all of a sudden he's not perfectly fine and all of a sudden he's no longer viable,
and that's, there's something about that odd change from what is totally normal to what is totally
abhorrent and felonious, it appeals to me, maybe that's just one of the strange perversity involved in
being a novelist I don't know. I don't know. You know Thoreau says that a writer is a man
who having nothing to do finds something to do.
I think it's all about being loved, I mean as a child I was loved, and one of the things my wife
always says to me, she says you know I grew up in a household of divorce and she says love was always
conditional, she says, in regarding me, she says with you love is unconditional because I love her
unconditionally, and that's because I just think that's the way life should be, and I'm far from perfect,
but on that one issue I do understand that to create a sense of reliable normality that the person who
loves you loves you, and will always love you, is your due in life.
And again I'm speculating about a book I wrote, OK?, so there's a certain fortuity to that,
but I think that's because those two children, Dell and his sister, were loved as children,
that they were most impressionably persuaded that normal was normal, that life had its normal
parameters around it, and that no amount of eccentricity and no amount of shocking behaviour by
their parents quite disturbed that sense of normal so that they were pitched off, at least in Dell's case,
his sister may be differently, so that they were pitched off into the chaos that no normalcy would describe.
I always say that if the devil always was in your life wearing a read suit, with a tail and horns,
you wouldn't get anywhere close to him.
But the fact of the matter is the devil often comes with certain appeals, it's also true just in dramatic
terms, that drama is interesting when the villain says something that's true.
So to create a persuasive villain, to create somebody who has the power that evil must have,
because if evil was just dispensable none of us would run afoul of it, but to create a character who has a
sort of tempting evil to him he has to be able to make sense, he has to be able to have affection,
he can't just be the antithesis of all that is good, he has to be tinctured by something that's appealing.
Maybe none of us is a character at all, I mean I don't believe in character anyway, I don't believe
that any of us has a sort of a kernel, hard, essential core, that we are basically as human beings,
and certainly as literary creations, we are a combination of imputed memory, wishes in will, fears,
desires, all kinds of things that just kind of get laid on, laid on, laid on, and laid on, and that because
that is a such a vertiginous kind of human condition, we ascribe to people to have cores,
to make that vertiginous seem less scary, so Dell is that way, but one of the things he does to establish
his own sense of persuasiveness to himself is that he tells this story, and his ability to intercalate
good with bad, violent with normal, love with not love, is a measure of his gaining dominion over it,
into the extent that he can gain dominion over it then he once more performs an act which would conclude that he has a character.
And I think we don't. It's a kind of, it's not an heretical idea, it may be a slightly nihilistic idea.
Growing up in the south was lucky in one way because I grew up down the street from Udor Welthy
and not far from Wayne Falkoner, and the idea that being a writer was a possibility, was ingrained in everybody,
writing literature was just in the air in Mississippi.
That was probably the only good thing about Mississippi, and everything else was bigoted and
racially tense, and unfair, and absurd, and it made most of us who were white kids growing up in
Mississippi kind of absurd creatures,
So what I wanted to do to escape that sense of burden, a burden visited on me simply by the
accident of my birth, was to get away.
And one of the things I found out when I got away was that the south had been perpetrating a great
lie upon me, many lies actually.
One big lie was that the south was unique, that the south was in fact a very special place
in the middle of an otherwise nondescript land country which was America.
And what I found was that America was equally interesting irrespective of where you went,
and that the values, if you had particularly good values, which is to say that you didn't wish to harm
other people, you didn't want to be prejudiced against other races, that you wanted to treat people
equally, that those kinds of morays and values worked everywhere, that the language in America
was English, that the currency was the dollar, that the President was the President,
So America was a much more, for me, approachable, and I won't say it was homogenous because it
really isn't homogeneous at least not superficially, but America was a much more approachable,
knowable place, even for a southerner than I had been led to believe it was.
You know, you sort of think southerners only know the south, southern writers only write about the
south, southern writers only write for other southerners, what southern writers know only
other southerners can know, all baloney, it's all bullshit, complete bullshit, so I just decided to
dedicate my life to proving that that was bullshit.
It was worth doing because those preoccupations and those presumptions and those lies were very
confining, intellectually confining, morally confining, spatially confining, all those things you don't really
need in a country as vast as ours. You want to go, you want to see.
Canada is hugely appealing to me for a lot of reasons, one is I always feel better when I go there,
and I'm not quite sure why, I feel restored, I feel I'm in a more tolerant place.
There's also something about Canada which is mysterious, and that is that it is retinally
similar to America, but that once you pass across the 49th parallel and into Canada you realise
that you are in a totally different place from where you were before.
And that combination of retinal similarity and profound difference is to me mystifying and interesting,
and I can't explain it, this book is not about explaining that but it is about putting that fact
in play and seeing what can be said on the strength of that peculiar kind of nexus.
Similarity encased in mystery, mystery encased in similarity.
You don't need a book to go out there and feel what it feels like, and smell the surf.
I just appropriate the language of the place and from the language of the place, which is chiefly what
I'm interested in, I kind of use, I sort of co-opt the reader to in his or her mind eye envision the place,
where these words are appropriate, so saskatchewan. I would want to write about
saskatchewan only so that I could put the word saskatchewan on the page as many times as possible.
Because I think that's exciting, but when I put it on the page then that gives me an opportunity to
use other language to create descriptions and create word pictures which will help make more plausible
what the characters are doing in the foreground.
So it's a kind of a, you know one thing, on the one hand it's just language, it's just words,
on the other hand, once you have the words well you might as well describe what those words mean to
most people's experience, and you do that again so you can make what the characters do be plausible.
And chiefly I think for me the language is pleasurable to the reader. I mean a reader finds it pleasurable
to read a description and think she or he can identify that out of life.
But they also take pleasure in the fact of seeing that it's made of all of these words which can be put
together in such a felicitous way as to become almost but not quite visible.
So the complexity of that kind of dual medium experience is very pleasurable for a reader,
and it's something that we all as people who live on the earth are better if we know, we're better if
we know, we're better if we know that we look out a window and we see the surf but we also see the
window, we also see the droplets on the window.
It's in an attempt to make lived experience be more valuable, to be more morally good, and to be alert to it.
I have changed as a reader because when I was young I didn't know what I was reading,
I was just reading books that I was taking on faith, that people said were great books, such as
'Absolum Absolum', for instance, I just dived into books like diving into the surf, and whatever
stuck to me stuck to me, without my sense of knowing necessarily what that good stuff would be.
Now I think I'm much more discerning as a reader, so that I know what the good stuff is when it's
happening to me, but I couldn't have done that without that act of faith which is to dive in without a clue,