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Greg Bardsley

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Literary fiction

Greg’s Friends Doing Amazing Things — Al Riske

You never know how your life might change as a result of meeting someone.

When I met Al Riske in 1999 as a fellow ghostwriter at Sun Microsystems, I couldn’t have predicted the writing adventures and deep friendship that would follow. Over the course of the next nine years — during lunches, coffee breaks and hallway conversations — Al and I would compare notes on our fiction pursuits.

It didn’t really matter that he wrote literary and I wrote transgressive. We supported each other — critiqued each other’s pieces, read each other’s books, ridiculed each other’s rejection letters, dissected literary-agent  search strategies and, eventually, celebrated the successes that started to develop.

Along the way, I was lucky enough to read a story collection Al had written, revised, added-to and massaged for the better part of twenty years. The stories were beautiful — elegant without trying, revealing without really showing why, brief in a satisfying way, scandalous with a light touch — and they stuck with you, key images and dialogue etching themselves into your subconscious.

His stories began to stick with other folks, too, including the editors at Hobart, Blue Mesa, Pindeldyboz and Word Riot. One story won a contest. But literary agents didn’t come running — the conventional wisdom seemed to be that there was no commercial market for short story collections, unless you were Tobias Wolff or John Updike.

Then Al learned about Luminis Books, a brand-new small press that wanted to publish “beautifully crafted prose.” Luminis, it seemed, was interested in publishing books it likes, and less obsessed with producing a New York Times bestseller.

Next thing he knew, Al had a book deal.

A year later, Al’s collection, Precarious: Stories of Love, Sex and Misunderstanding, is shipping from Amazon and selling at bookstores. Publishers Weekly called it “charming.” Novelist Catherine Ryan Hyde announced, “The art of the short story is alive and well in the hands of Al Riske.” Bookstores and literary groups have invited him to read from his collection. Every week seems to deliver a new first, a new adventure.

When my copy of Precarious arrived, the whole thing hit me hard in a wonderful way — here in my hands was the fruit of Al’s inspirational talent and persistence.

I couldn’t be happier for him.

Five questions at Scrivo

richardsonMark Richardson and I have been comparing notes on fiction-writing for years now. We have had some great talks about it all. Whereas, he’s more likely to tell me about the latest story by nearby peninsula genius Tobias Wolff, I’m more likely to tell him about some amazing stories I’ve read in Plots with Guns or the now-defunct Murdaland.

He reads fiction in The New Yoker. I read fiction in Thuglit. And then we trade.

A few years ago, we had a debate about Eat, Pray, Love.

Along the way, he’s turned me on to some great shit in his publications. And I’m happy to report that maybe I’ve turned him on to noir and transgressive fiction. Case in point, Richardson is now weighing in on UNCAGE ME, the anthology of noir that includes my story, Hotshot 52, and has asked me to answer five questions over at his new blog, Scrivo.

Mark is a great writer with an amazing track record in fiction — every story he’s written has been picked up so far. And Scrivo already has made some interesting observations about  the pursuit of fiction-writing.

You can chek out his bog and his five questions of me right here.

Like a sock in the gut

It’s been a while.

Been a while since I’ve read a book that just shook in my hands. You know, with a life all its own, the characters jumping off the page before you, the story engrossing you, the emotional well-being of the protagonist producing a big lump in you514cejg6p1l__sl500_aa240_1r throat.

Not sure why it’s been a while. I have my suspicions. But what I do know is that it’s a tricky —  damn tricky — business, making a novel work at that level.  Making it work so that when the world caves in on a character like Gus Dury, you feel like you’ve been socked in the gut.

Well, last week I was socked in the gut. You could say I was Gutted.

I was lucky to get ahold of an advance copy of Gutted, the forthcoming novel by Scottish maestro Tony Black. Gutted exposes us once again to the world of  Dury, a journalist turned down-and-out  alcoholic and dive-bar proprietor. We first met Dury in Black’s breakout debut, Paying for It. In Gutted, we go a little deeper into Dury’s past, and we come along as the utterly flawed, supremely loveable Dury struggles to solve a gruesome murder that, if it goes unsolved, just might destroy what is left of his own life.

What gets me is Black’s ability to write stories that are so visceral and brutal in their physicality, and yet so thoughtful and touching in their emotional weight. Damn, damn impressive, Mr, Black.

Say it isn’t so, Murdaland

Shit. … A great fiction journal just bit the dust.

Murdaland on Wednesday sent a note to me and other crime writers announcing that it was “suspending publication.” Says the note, “We tried very hard in 2008 to keep Murdaland going as a viable entity, but it’s just no longer possible.”

In terms of quantity, Murdaland doesn’t leave a large body of work. It produced just two printed issues. But holy shit, did they turn some heads. In an instant, the journal became one of the more sought-after places for crime writers to showcase their fiction. It had this highbrow-lowbrow thing going, and more important, it ran some truly badass crime fiction — or, perhaps more accurately, badass fiction that happened to deal with crime.

Regardless, it’s suspended now. And, I hope I’m wrong, but it feels like it’s not coming back. Maybe I’m woefully uninformed in these matters, or maybe I’m in denial, but I’m left scratching my head trying to figure how other printed journals can find ways to make it work financially but not these guys. The other thought I had was, Why not go web-based? Again, easy for me to say. I guess I just hate to see them go.

Opening his doors to noir

Hey, check me out. Today, I’m literary.

I like to pronounce it, “Littah-lehry,” affecting a self-important gaze as I make the final “r” roll nice and long, lowering my lids to emphasize that we’re talking about “important” work and all that. You see, I haven’t been literary before. Hell, maybe I’m still not literary. But today, a literary ‘zine called Storyglossia opened its doors to me and other crime writers for its special noir edition.

It reminds me of that scene in Caddyshack when the country club opens its pool for a special “caddy appreciation hour” — during which time a Baby Ruth candy bar is mistaken for poo at the bottom of the pool.

As a guy who writes a lot of crime fiction, I’ve always listened with fascination when other writers attempt to distinguish literary fiction from everything else. When pressed, they’re usually at a loss for words. Hell, I am, too. Maybe it’s like that famous Supreme Court ruling on porn in which Potter Stewart said it was hard to define but “I know it when I see it.” Kinda like a Baby Ruth at the bottom of a pool?

Doesn’t matter to me. Great crime fiction can offer just as much value as the best “literary” fiction, and it’s usually a lot more interesting, visceral and alive. I’ve also read some great general fiction that takes me places that crime fiction hasn’t. In fact, maybe we can learn a few things from each other. Maybe crime-fiction fusion, as you might call it, can bring out the best of both sensibilities.

If the new edition of Storyglossia is any indication, folks might be on to something here. I am truly honored to be included in the edition, which is guest edited by novelist Anthony Neil Smith (his great introduction is here) and is graced by stories by the likes of crime-fiction badasses Vicki Hendricks, Megan Abbott, Ray Banks, Seth Harwood, R. Narvaez, Fred Zackel, Kevin Wignall and Adam Cushman, to name a few of the talented contributors.

So I tip my hat to Steven McDermott at Storyglossia for opening his doors to noir, and for stating as he does that “crime stories matter.” And I thank Neil Smith for pushing me to write a new ending to “Funny Face,” which ultimately took my piece to a higher level.

Now go check out some crime-fiction fusion at Storyglossia.

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