A Quote by Joyce Carol Oates
I don't teach literature from my perspective as 'Joyce Carol Oates.' I try to teach fiction from the perspective of each writer. If I'm teaching a story by Hemingway, my endeavor is to present the story that Hemingway wrote in its fullest realization.
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Hemingway's short story 'Hills Like White Elephants' is a classic of its kind. It illustrates Hemingway's 'iceberg theory,' which requires that a story find its effectiveness by hiding more than it reveals.
When I admire a writer, it's for the recognizable palette - Hemingway's minimalism, the dialogue, those isolated bar scenes. But with each story or novel, he shows me something different within the framework he's built - like noticing that there's a chair in the corner I didn't see in another story.
In college, I discovered the Joyce Carol Oates short story 'Where Are You Going, Where Have You Been?' which is definitely one of the most incredibly unnerving, frightening short stories ever written.
I send all my short fiction to 'Ontario Review' because Joyce Carol Oates is associate editor there, and I think she's fantastic.
To really talk about African story, and teach this story, you have to teach that tribes were actually nations. You have to teach that chiefs were actually kings, with kingdoms. You have to teach that there was a structure that worked in Africa prior to colonialism. You have to teach that countries were colonized that were doing fine by themselves. And that's uncomfortable.
Do you think that Hemingway knew he was a writer at twenty years old? No, he did not. Or Fitzgerald, or Wolfe. This is a difficult concept to grasp. Hemingway didn't know he was Ernest Hemingway when he was a young man. Faulkner didn't know he was William Faulkner. But they had to take the first step. They had to call themselves writers. That is the first revolutionary act a writer has to make. It takes courage. But it's necessary
I think I succeeded as a writer because I did not come out of an English department. I used to write in the chemistry department. And I wrote some good stuff. If I had been in the English department, the prof would have looked at my short stories, congratulated me on my talent, and then showed me how Joyce or Hemingway handled the same elements of the short story. The prof would have placed me in competition with the greatest writers of all time, and that would have ended my writing career.
The thing that was important to me about Hemingway at the time was that Hemingway taught me that you could be a writer and get away with it.
I took a couple of creative writing classes with Joyce Carol Oates at Princeton University, and in my senior year there, I took a long fiction workshop with Toni Morrison. I fell in love with it.
Paper is like Joyce Carol Oates: white.
I teach fiction in my workshops, and some of the readings could be classified as horror. For example, 'House Taken Over,' a short story by Julio Cortazar, is a work I regularly teach.
I teach a 14-week semester, and one of the things I do when I have to teach literature is, for the first half hour of the class, I have the students write the beginning of a new story every week. At the end of the semester, even if they have learned nothing about literature, at least they'll have 14 beginnings that they can take with them.
Once, in an interview with 'V' magazine, I said that I preferred Fitzgerald to Hemingway. I think that Hemingway is an amazing writer, but by being related to him, I had it in my head that I had to like him.
I remember that the single most vicious letter I ever read was the letter Hemingway wrote Scribners when they asked him to give a blurb for From Here to Eternity. It's there, in the Selected Letters for all to read, an example of a once great writer at his very worst. I doubt that he ever forgave Scribners for publishing James Jones in the first place. War, as Hemingway saw it, belonged to him.
When I write a story, I try to write them from the perspective of victims. I try to write them from the perspective of families who've been done wrong, who have lost their loved ones or people who have experienced injustice.
Hemingway was a prisoner of his style. No one can talk like the characters in Hemingway except the characters in Hemingway. His style in the wildest sense finally killed him.
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