An Interview with Christopher Brown

10 Aug

Christopher Brown is the author of the novel Tropic of Kansas, which William Gibson called “a truly hallucinatorily envisioned environment.”

Christopher Brown is the author of Tropic of Kansas. He was nominated for a World Fantasy Award for the anthology Three Messages and a Warning: Contemporary Mexican Short Stories of the Fantastic. His short fiction has appeared in a variety of magazines and anthologies, including MIT Technology Review’s Twelve Tomorrows, The Baffler, and Reckoning. He lives in Austin, Texas, where he also practices technology law.

To read an excerpt from Tropic of Kansas and an exercise on introducing characters, click here.

In this interview, Brown discusses writing his story from the ending, how he knew what getting hit by a rubber bullet felt like, and writing a near-future dystopian novel in the current political climate.

Michael Noll

The novel starts out with a fairly tight frame, with Sig escaping custody. We learn that the United States is led by a despotic leader, but the narrative seems less about revolution and more about individual survival. Gradually the narrative frame broadens to include revolution, and I’m curious if you always knew this would be the case. Did you know that Sig would get drawn into larger and larger events? Or did you stumble into them, along with him? 

Christopher Brown

I always knew where the story was going to go, but only a vague plan for how it would get there. The ending was the first thing I wrote. I knew who the three core characters were, and where they were going to end up, but not much beyond that. I also knew that I wanted Sig’s trajectory to follow the model traced by the historian Eric Hobsbawm in his book Bandits, a study across cultures and eras of how a common thief will sometimes evolve into a social bandit and then revolutionary leader.  And I knew that the story had to be found through an episodic approach, in a way that would be truer to real life and structurally similar to adventure pulps. It took a lot of work to write my way into a coherent narrative using that approach, but I think it was the right way to go

Note: Brown discusses Hobsbawm and Bandits further in this post at Criminal Element.

Michael Noll

There are a lot of fighting and battle scenes in this book. What was your approach to writing these? Did you do any research on how they might have played out?

Christopher Brown

The book aims at a speculative realism, constructed as much as possible from the material of the observed world, remixed and inverted. Most of the places the book goes mirror places I have spent substantial time in, all the characters draw from real life, and many of the physical injuries are ones I have suffered (a friend told me what it feels like to be shot with a rubber bullet).  The scenes of armed conflict and uprising draw on a mix of events from revolutions and wars that have occurred in other countries, embellished with real elements I have witnessed (including as a young journalist traveling through conflict zones and as a government lawyer overseeing federal law enforcement efforts), all put together in a way that tries to repurpose the material of American action stories toward more emancipatory ends.

Michael Noll

Christopher Brown’s debut novel, Tropic of Kansas, has been called “a modern dystopian buffet” in a NPR review.

One of the major plot points in the novel hinges on the way people who oppose the government are able to secretly communicate via television. Was this something you made up, or did you discover this as a possibility that could (or actually does) exist?

Christopher Brown

There’s a romance to those analog broadcast technologies, things that once embodied the future and now seem part of a static-ridden past. They have a cool aesthetic that I was intuitively drawn to, boosted by the idea of popular repossession of technologies of institutional power. But the networks I imagined also drew on real technologies I once worked with, at a software company that developed early interactive television systems that could transmit digital information over analog TV networks.  So again, an effort at speculative realism.

Michael Noll

Anyone who reads this book will be struck by parallels with our current state of political affairs. But I’m guessing this novel was written long before our current president had even declared his candidacy. When you began revising in preparation for publication, did you give much thought to these parallels, or did you try to treat the novel’s world as its own creation?

Christopher Brown

I started the book in earnest in early 2012 and finished it in November of 2014. At the time, I thought some of the political elements of the story were so implausible that I sat on it for a while, sending it only to a few colleagues. But everything in the book drew on things I saw in the world around me, in the same way that our current political realities reflect deep currents that have been developing for years. For example, as I wrote in an essay earlier this year, the idea of the businessman-politician running the country like a company has been around for decades. Many science fiction novels that get called prescient are just good examples of naturalistic inversions whose “futures” really just emphasize things evident in the present. During editorial revisions last year, I was obviously aware of current events, but focused more on drawing out the ecological themes that had worked their way to the surface, and fine-tuning the story I already had. The world of the book is an imagined one, almost like another character, and the challenge is letting that world be true to itself within the confines of the story, while at the same time striving for fidelity for deeper truths.

For further reading about the book, some recent essays by Christopher

Dystopia is Realism”—LitHub, July 10, 2017

You’re Fired—Democracy, Dystopia and the Cult of the CEO”—NewCoShift, March 15, 2017

The Persistence of American Folklore in Fantastic Literature”—, July 13, 2017

The Big Idea Behind Tropic of Kansas”—Scalzi’s Whatever, July 13, 2017

The Summer of Living Dangerously”—Sirens of Suspense, July 2017

August 2017

Michael Noll Michael Noll is the Editor of Read to Write Stories.

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