When Roxane Gay claims in the bio on her website, that “I write things,” she’s not being vague, only inclusive. Her long list of publications includes the story collection Ayiti and appearances in story anthologies such as Best American Short Stories 2012 and nonfiction journals like Salon. She’s also the co-editor of PANK and the essays editor at The Rumpus. On top of all of that, she teaches writing as an assistant professor of English at Eastern Illinois University.
In this interview, Gay discusses what it means to write a story in the guise of a restaurant menu, the virtues of exposition, and her response to people who claim that there are not that many good writers of color.
(For an exercise based on her menu-themed story “Contrapasso” click here.)
The first thing every reader will notice about “Contrapasso” is its structure–which is amazing. I’ve never seen a story like it. How did using the conceit of a menu affect how you wrote the story? Did you write the story first and apply it to the structure, or did you take the menu structure and write a story that would make sense within it?
This story went through a few drafts. It’s been a while since I wrote this story but even though it has been through a few drafts, the menu structure was always a part of the story. Originally, it was just a few dishes and I was focused more on seven deadly sins and there wasn’t much story there. The editor of Artifice sent me some editorial suggestions and I really took them to heart, and expanded the story into a full blown narrative and the menu structure still worked really well, particularly because I fully committed to it in the revision.
Just the other day, I heard someone advocating for “show, don’t tell,” but this story seems to show by telling. In part because of the structure, it rarely descends into a scene for longer than a few sentences. There is almost no extended dialogue. Several stories are told that begin and end within a single paragraph (about the cheesemonger, about cooking lobster.) As a result, I’m curious what your attitude is toward that that old advice of “show don’t tell”?
We love to talk about showing versus telling in creative writing and the distinction remains useful. That said, sometimes, parts of a story need to be told rather than shown. For better or worse, I use exposition a lot in my writing and I don’t balk when I see exposition in fiction. It’s not that you should show rather than tell. It’s that you should make the choice.
The “Writing” page on your website is kind of astounding. You’ve published more than 100 stories and many essays. How do you produce so much material? What does your writing process look like?
I live in the middle of nowhere and suffer from insomnia quite often and I also write fast because I’m always thinking through story and essay ideas in my head. My writing process involves a lot of procrastination and then sitting down and just writing and writing and writing until I can’t write anymore.
Last summer, you wrote a piece for The Rumpus (We Are Many. We Are Everywhere) about the idea within the publishing world that the reason writers of color have little visibility is that there simply are not very many of them. So you put together a list. You also said this: “This is not a token list of writers to go to when you need someone to write about race—these writers write about a wide range of subjects.” What reaction did this statement get? What do you think needs to happen so that a statement like that is no longer necessary?
Great question. That whole project was really successful. A great list of writers was compiled. I don’t know that the statement you highlighted got a specific reaction but I included it because all too often, people tend to think that writers from a certain group should only write about issues specific to that group. I wanted to make it clear that I wasn’t compiling a list of race-related subject matter experts. I was compiling a list of writers who happen to be of different races and ethnicities. For a statement like that to no longer be necessary, a list like the one I compiled no longer needs to be necessary. We’re a long way from there.
Michael Noll is the editor of Read to Write.