Brian Evenson (born August 12, ) is an American academic and writer of both literary As a young man, Brian Evenson served a two-year mission for The Church of In , he received an O. Henry Award for his story “Two Brothers”. #92 Two Brothers- Brian Evenson. Daddy Norton has fallen and broken his leg. He refuses to let his sons leave the house for help. He believes. Brian Evenson’s work can be unpredictable, confronting the reader with what can Evenson has received an O. Henry award for his story “Two Brothers” and an.
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For instance, a story I finished recently called “90 over 90,” about an editor struggling in the publishing industry, has a humor that’s largely satirical and parodic and contains only the darkness naturally found in the publishing industry. Might these see the light of day? I’m brothfrs aware of philosophy and especially interested in questions of epistemology, particularly theories that suggest the impossibility of knowing. Altmann’s Tongue opened with an epigraph by Julia Kristeva ; Dark Property featured quotes in untranslated German from Martin Heidegger ; and several of Evenson’s books have epigraphs from philosopher Alphonso Lingis.
A lot of those words probably appear in the Oxford English Dictionary, but some only exist in some rare text in some obscure library, and some are words that existed but were only used once or twice, but I’ve transformed them from verbs to modifiers or nouns to verbs.
Views Read Edit View history. I’m happy with the novel I’ve published and the novel I’ve just finished, feel that the subject matter of both demanded the more expansive treatment of a novel, but I think the form I find the most brlthers is the novella, even more so than a story.
Your humor, perhaps most fully in The Wavering Knifeis dark and hard. Nabokov, whose prose is much more deliberately fussy, has a similar extraordinary signature. I tried to redraft it about three years ago, but wasn’t any happier with where it was going; I do think it will eventually condense into a long story, but first I have to be willing to let it go as a novel.
Dark Property has a lot of odd words but tries to put them into a very clean context, a context where one can quickly guess their meaning. Some of these occur very consciously, others happen organically and then are perfected. In your work, has the role of humor changed over time? I tend to throw away around half of what I write, and start a lot of stuff that doesn’t work out. Writing Father of Lies. There’s a philosophical thread in most of my work, and even some of the violence and cruelty is very much tied to, for instance, notions of transgression found in Bataille and others.
His fiction is often described as literary minimalismbut also draws inspiration from horrordetective fictionscience fiction and continental philosophy. I’ve redrafted it, changing it each time very substantially, four times in the last eleven or twelve years. Evenson makes frequent use of dark humor and often features characters struggling with the limits and consequences of knowledge.
But I suspect that’s a one story sideline for me.
Short Fiction Daily: Brian Evenson and Creepiness
He was incredibly self-deluded: Evenson layers these things in such a way to not make them lame or too critical, eevnson rather perfectly shocking and impactful. The Mario Lanza Experience is based on the father of a friend of mine whose obsession with the singer Mario Lanza ruined his life: Achieving such a style is, I think, is a worthy goal for any writer.
I’m also continuing brotgers write stories, and have a piece coming out in the next issue of McSweeney’s and a piece in Omnidawn’s New Fabulist anthology among other things. We read them with care, with our guard up, only to find they have already slipped inside and gotten to work, refining the feelings, the vision, the life.
Is this what’s called “imposter fiction? They’re all in boxes. Retrieved from ” https: I’ve heard quite a bit about Evenson, but I can honestly say this is the first piece of his work that I’ve read.
I talk about that in an afterword the paperback version of Altmann’s Tongue — it was very difficult, and ultimately precipitated the collapse of my marriage. Pergolesi’s Death was a sort of metaphysical mystery like Leonardo Sciascia’s work which had a central flaw that Rbothers don’t see any way to ever get around. But I have very little patience with fiction that seems to push a critical perspective, fiction that serves as a mouthpiece for a cultural critic or a post-structuralist’s views.
I don’t think it’ll ever see the light of day, in any form.
I think the depictions of madness in writing are sometimes a little formulaic, but also think that very few of the insane are in any sort of position of lucidity. It has some very odd moments.
As a writer, I’d like to think that what I’m created has a certain authority and expresses a distinctive voice, that I’m offering something up to the reader that he or she isn’t likely to encounter elsewhere, and that this something is not simply the content but a way of handle that content. I don’t think I could have written it without thinking of it that way, but it also meant that it took me four years to write the third section, which brings the other two sections together, in a way that worked.
Theron steadied Aurel against the side of the house and leveled the air rifle at the dog’s head. The novella, at its best, has many of the strengths of short stories and novels. Wandering in a large house. What have you learned? I do think, as I suggested above, that there’s a subterranean philosophical investigation going on if you consider all my stories together, and this accounts for both the stylistic similarities and what you call the unique cohesive elements.
I think I’ve managed to reprogram my thinking enough that now certain tonal things seem to happen organically. In evenspn Mountain Rhow much was Jacques Jouet’s voice and how much was yours? There are, of course, some choices in terms of arrangement and sentence patterning that are particular to me — another translator might have handled them differently — but I tried always to let my voice give way to his.