A Quote by Kathryn Harrison
In terms of going back and forth between fiction and nonfiction - in which I'll include memoir, biography, and true crime - is that one relieves the other.
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I can be very snobby about fiction, especially contemporary fiction. I can be kind of overly demanding, I think. But this is, I think, a good time. A lot of fiction comes out right now. So, I like reading the memoir. I love memoir, the biography, auto bio.
I do 30 to 40 books a year, so it's a fair amount of reading. Back and forth between nonfiction and fiction. I usually have three or four things that are open on my desk, on my bed, on audiobook in the car.
Going from memoir to fiction was fantastic. I had been afraid to move away from memoir; I'd written some novel drafts, but they weren't well received by my agent at the time, and it had been drilled into me that "memoir outsells fiction two to one" (not sure if that's true anymore, or if it ever was), so I felt like the only smart thing to do, professionally, was to keep mining my life for painful moments to recapitulate.
For me, a memoir is nonfiction and nonfiction has to be absolutely true.
I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.
Though I consider The Chronology of Water to be an anti-memoir for very precise reasons, it is an art form, and thus as open to "critique" as any other art form. Memoir has a form, formal strategies, issues of composition and craft, style, structure, all the elements of fiction or nonfiction or painting or music or what have you.
I used to distinguish between my fiction and nonfiction in terms of superiority or inferiority.
I grew up reading crime fiction mysteries, true crime - a lot of true crime - and it is traditionally a male dominated field from the outside, but from the inside what we know, those of us who read it, is that women buy the most crime fiction, they are by far the biggest readers of true crime, and there's a voracious appetite among women for these stories, and I know I feel it - since I was quite small I wanted to go to those dark places.
I think I was always informally thinking about choice from when I was a very young child because I was born to Sikh immigrant parents, so I was constantly going back and forth between a Sikh household and an American outside world, so I was going back and forth between a very traditional Sikh home in which you had to follow the Five K's.
Biography always has fulfiled this role. Robinson Crusoe is a biography, as is Tom Jones. You can go through the whole range of the novel, and you will find it is biography. The only difference between one example and the other is that sometimes it's a partial biography and sometimes it's a total biography. Clarissa, for example, is a partial biography of Clarissa and a partial biography of Lovelace. In other words, it doesn't follow Lovelace from when he is in the cradle, though it takes him to the grave.
I've been writing since 1973. I've written nonfiction things of that nature, but I'm probably best known for crime fiction and, to some extent, horror fiction.
Prose gets divided up into fiction and nonfiction and short fiction and long fiction and autobiographical nonfiction and so on. Poetry can do any of those things except with the added definition of intensified formal pressure.
The state of love is this constant flux back and forth between who's saving and who's rescuing, who's wanting and not wanting, who's needing and who isn't. It's always going back and forth between two people who are actually attached.
Maybe that's the foundation of my book: how do we come to terms with the death of someone we love when it is impossible to come to terms with such a profound loss? The path I found where I could even ask that question, or maybe advance it beyond what I'd attempted in A Year and a Day, was by straddling the line: this is fiction and memoir, it is true and it isn't.
I love writing both fiction and memoir. Both have unique challenges; bottom line, fiction is hard because you have to come up with the credible, twisty plot, and memoir is hard because you have to say something true and profound, albeit in a funny way.
A typical biography relying upon individuals' notorious memories and the anecdotes they've invented contains a high degree of fiction, yet is considered 'nonfiction.'
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