After Richard Ford published an essay about his mother in Harper’s Magazine in 1986, he always wanted to write a companion piece about his father. “But my father was dead a long time at that point—he died in 1960 when I was 16— and even before that was never very physically present in my life,” Ford said recently. “The prospect of writing about him always stayed a little bit offshore for me.”
Now, after more than 30 years of note taking, Ford has found a way to bring the subject of his father to shore. His memoir, Between Them: Remembering My Parents, was published on May 2. It is the first nonfiction book for Ford, the Emmanuel Roman and Barrie Sardoff Roman Professor of the Humanities, who has been teaching at the School of the Arts since he arrived at Columbia in 2012.
- Emmanuel Roman and Barrie Sardoff Roman Professor of the Humanities
- Princess of Asturias Award for Literature, Spain, 2016
- Andrew Carnegie Medal for Fiction, 2013
- Prix Femina Award, France, 2013
- Pulitzer Prize for Fiction, 1995
- PEN/Faulkner Award for Fiction, 1995
- Rea Award for the Short Story, 1995
“Richard Ford is uniquely gifted as a writer, that is indisputable, but he is also completely gifted as a human being— clever and witty, straight-talking, tough when necessary, extremely charming (most of the time), and big of heart,” said Carol Becker, dean of the School of the Arts. “Few artists of his stature would ever give so much to young writers as he does. For this we are all extremely grateful.”
Ford’s 1995 novel, Independence Day, was the first book to receive both the Pulitzer Prize and the PEN/Faulkner Award. The book was the second in his critically acclaimed Bascombe Trilogy, which began with The Sportswriter in 1986, a work that introduced readers to Frank Bascombe, novelist-turned-sports-writer-turned-realtor.
He completed the trilogy in 2006 with The Lay of the Land—or so Ford’s readers thought until 2014, when he published Let Me Be Frank with You, four linked novellas that further chronicled Bascombe’s life and was a Pulitzer finalist.
His other works include the novels A Piece of My Heart, The Ultimate Good Luck and Wildlife, as well as the short fiction collections Rock Springs and Women with Men. He has edited several collections of fiction, including Best American Short Stories 1990 and Blue Collar, White Collar, No Collar: Stories of Work. His latest novel, Canada, was published in 2012 and was a best-seller.
Q.Why did you decide to write a memoir about your parents at this point in your life?
A. I looked around at the notes that I had accumulated over 30-plus years and there were a lot of them, hundreds. And I thought, well, the least I can do is go back through them and see what happens. I knew that I was going to have to take the point of view that my father’s absence was a kind of presence. It made a kind of metaphorical sense, but not necessarily literal, practicable sense. What I found, though, was that I had a lot of memories that I didn’t know I had until I started writing them down. But why, beyond those logistical or technical considerations, did I write about my parents? I simply missed them. I got to be 70-plus years old and I realized I was a man who missed his parents. I missed them for sentimental reasons and I missed them because I wanted to be able to affiliate with them again. Writing about them would affiliate me with them, and writing about them in a memoiristic way, which is to say, based on fact, was a way that I could testify that they actually existed—even though they were not people of obvious consequence in the wider world.
Q.Was writing your first book-length piece of nonfiction different than writing a book of fiction?
A. No. I just adhered to the requirement that everything I averred about my parents had to be factual. And anything that wasn’t factual, such as certain aspects of my parents growing up, I had to frame clearly as supposition—by me. Therefore, when I said something was true about them, such as when they were born and where they were born and where my grandmother came from, all of those things had to be factual, because fact was my ultimate certifier. It’s important to me to retain the now rather quaint idea that “things actually happen.”
Q.Did the language—word usage, sentence structure—strike you as different than when you write fiction?
A. I had to develop a style and a syntax and a diction which was apposite to the essay I wrote about my mother. I don’t know if the fact that one was written in 1986 and one was written in 2016 has made any stylistic difference. I adjusted the first essay about my mother—at least in its content—to more aptly reside in a book also about my father. For instance, there were repetitions from the first to the second which I eliminated, some that I rationalized. But as far as drawing upon some different literary muscle, I don’t think I did.
Q.So the subject you are writing about determines the style of your writing?
A. Yes. I have no investment in making my so-to-speak writing style be consistent project to project. Sometimes people will say to me, “You know, I can recognize a sentence of yours anywhere.” I say: “Oh bullshit, you cannot. Because I can’t, so why should you be able to?” There’s a kind of faux caché associated with the faux notion of a writer’s voice being always consistent. A writer has many voices. All of us do. If you’re trying to maintain stylistic consistency, you’re probably cutting off something that you should have access to—language, subject matter, tone, humor. Everything. You want to invent a style that gives you access to everything you can say about whatever subject you’re undertaking. A lot of crap gets purveyed about “voice.” Most people, including many writers and teachers of writing, don’t understand the entire matter.
Q.What was it like to write something so personal?
A. My wife, Kristina, said she thought that I experienced a kind of emotional low when I was writing about my father in the winter of 2016. Probably revisiting his death and the bits of his life were telling on me. But if so, that was a little enough price to pay to be able to write about him. I don’t like to overdramatize the experience of being a writer, or to glamorize it, or to make it seem more emotion-charged than it is. It’s just something human beings do; lots of people are writers. I try to write about the most important things I know. That’s what I’m emotionally attuned to do. So if something draws down on me a bit, good; that means I’ve probably hit on something that is worth doing.
Q.Did writing this book about your parents give you a new understanding about your relationship with them?
A. One of the things I think I learned was that in the relationship that existed among my two parents and myself, I was always third. They were the two people that mattered the most. They each mattered to the other more than I mattered to them. I liked that and like it now. I like being able to say it; to exonerate them from narrow, conventional thinking about such matters. They were married for 15 years before I was born, never thought they would have children. But then they suddenly had me, and I think I was a little bit of an intrusion in the serenity of their life. That’s why I called the book Between Them. I came into the world from between them, I was raised literally between them, and I came between them, and it was always the case that what was most important to each of them was what was between them.
Q.You’re not saying that you didn’t feel loved by them?
A. I felt immensely loved by both of them all the time.
Q.Some writers say they’re not in control when they’re writing, that their characters drive the process. Who was in control when you were writing Between Them?
A. Well, the facts were paramount. They did what they did. I didn’t determine or control that my father was born in Atkins, Arkansas, or that my parents were married in 1928, etc. In a piece of fiction I would control such things absolutely. But in a memoir the facts run the show. What I had to decide was what difference it all made.
Q.What are you teaching this spring?
A. A course in memoirs about death, seven memoirs that I chose, all quite different—and I chose to teach this course not because I was publishing a memoir this spring, although that’s not inconvenient. The intellectual premise for the course issues from a remark that Walter Benjamin made in an essay called “The Storyteller,” in which he says, “The storyteller takes his authority from death.” One of the questions that I ask is, “How does death sanction this book and all its formal parts?” It’s the sort of question—in my view—a writer will inevitably ask about his or her work. So it has a practical application.
Q.What is the focus of the master class you are teaching this semester?
A. I used one book, Colm Toibin’s Nora Webster, a wonderful novel. We just went through it page by page, patiently and carefully. I may use James Salter’s novel All That Is for a master class next year and do the same thing. These rich, accessible books are my models. I want to write rich, complex books that are also accessible. If you can’t read to the end of my book, my book has failed. But a book like Salter’s, his last book before he died, is so full, it’s so full of teachable moments, of pleasurable moments, of new intelligence. And yet you can sit down and read it, you don’t have to study it, it’s not a professor’s book.
Q.How does the intersection of writing and teaching affect you?
A. I always put my own work first. That’s what I advise my students to do. My work’s much more challenging than the work I do for them. Classes are a great pleasure for me because I love to read the books, love to be in class with my students. I take seriously the fact that they’re trying to enter an estimable, difficult, almost impossible vocation. I respect their lives, their intellects. To get them along toward a writing vocation is a privilege.
Q.What are you working on now?
A. I wrote a couple of short stories and several essays this winter. I guess you could say I’m concentrating on things that fit more tidily into the teaching schedule. I’ve got a couple of novels that are sort of lurking out there. I can occasionally see through the fog, but I’m not that eager to bring them in any closer right now.
Q.Are we going to hear any more from Frank Bascombe?
A. One of those novels that’s out there in the fog is called Be Mine. It’s about Frank and his son Paul. I’ve been collecting material for it in my little notebooks for about two years. I haven’t had the moxie to embark on three-plus years of writing and another year of editing and getting it into print. So if some spirit, which I now can’t identify, moves me, I’ll do that. Who knows?
—Interviewed by Eve Glasberg
The dunes that inspired Dune: Agate beach sand dunes. (Photo: Kevin McNeal)
For a mere 20 years or so, I refused to read fiction. Read something that someone just made up? I can do that myself, thanks.
That was the attitude at least.
My time of reckoning came when I needed to fix insomnia, and non-fiction business books before bed just compounded the problem. I began reading fiction to “turn off” and instead saw breakthroughs in creativity and quality of life as a side-effect.
Now, if people ask me, for instance, “Which books should I read on leadership?”, I might reply: “Dune and Ender’s Game.” I’ve come to look for practical solutions in both fiction and non-fiction.
For those of you who are stuck in the business or how-to sections, as I was for decades, I offer you 10 fiction books that might change how you view the world… and how you perform.
The Top 10
Listed in no particular order…
1. Zorba the Greek
I have recommended this outstanding book before. It pits the instinctive against the intellectual, the simpleton (brilliant at times) against the over-thinker. Finding myself with my head frequently stuck up my own ass, this book is a constant companion and reminder to step outside of my brain.
Zorba himself would have you believe that words are wasteful and books a frivolous use of time (better spent dancing barefoot on the beach), but Zorba the Greek is stuffed like a grape leaf full of life-altering wisdom. For those looking to release the inner wild man, live each day in passionate awe, and reconnect with nature, Zorba reminds us how to live fully, love lasciviously and appreciate a life in the present tense.
I bought this book at Kinokuniya bookstore in Shinjuku, Tokyo. It is as thick as a Harry Potter book, probably thicker, but the pages are as thin as onion skin. It’s a serious tome. I never expected to finish it, and I tore through it in less than two weeks.
If you’re like me and enjoy a good Samurai story – the wandering ronin, epic battle scenes with lots of penetrating (wisdom), then you’ll love Eiji Yoshikawa’s Musashi. It’s sold more than 100 million copies in Japanese. Musashi’s transformation from talented yet conflicted young warrior to one of the greatest (perhaps the greatest) swordsman of all time teaches you about critical thinking, strategizing, and ultimately, that there is more to life than merely surviving. Musashi re-created himself from nothing and rose from destitution to legend.
Why not you?
3. Stranger in a Strange Land
Ever feel like you don’t quite fit in? Don’t want to follow society’s silly rules?
Then you can probably relate to human-born and Martian-raised Valentine Michael Smith. In this controversial 1960’s cult classic, Heinlein questions long held assumptions on religion, government, and sexuality (free Martian love for all!).
It’s also where the term “grok” originated.
4. Ender’s Game
At one point, this was the only book listed on Mark Zuckerberg’s Facebook page. If it’s good enough to be the sole selection of the founder of Facebook, maybe there’s something to it.
The plot: In anticipation of another attack from a hostile alien race, the search for a brilliant military strategist has led to Ender Wiggin.
In space combat school, Ender stands out, demonstrating exceptional leadership and unconventional strategy. But it is lonely at the top for Ender, as he struggles with relentless pressure from his instructors. Through Ender’s journey, you’ll learn how to capitalize on your strengths and those of your teammates, as well as exploit your adversaries’ weaknesses. Ender is a futuristic Level 5 Leader we can all learn from.
Teaser: Drop kicks in zero gravity are the bomb. Trust me.
To check the power of a fast-rising duke, a space emperor executes a convoluted plan to gain control of the all-important planet that has a monopoly of The Spice (a super drug-cum-jet fuel). But wait! The duke’s son is actually the messianic result of a breeding program run by space witches. Oh, and the Mentats? The coolest. If that all sounds like gibberish, don’t despair. Dune presents, despite my synopsis, perhaps the most incredibly detailed and oddly believable fictional landscape I’ve ever encountered.
Also, to add to any confusion: walk without rhythm, and you won’t attract the worm.
Completely unnecessary YouTube reference — Christopher Walken has rhythm:
6. High Fidelity
After his girlfriend leaves him for another man, Rob embarks on a journey of self-discovery and evaluation by contacting ex-girlfriends to see what went wrong in each relationship. High Fidelity teaches us that eventually we all have to grow up, get past adolescent self-importance, and take responsibility for our own lives.
Who says I only like books with killing, aliens, and Greeks? I’m a sensitive guy
7. The Brief Wondrous Life of Oscar Wao
Raised in a culture where men are powerful, sexual, and dominant, the Klingon-speaking, D&D-playing chubby boy thinks he’ll never find true love or physical affection. Oscar struggles as a young immigrant from the Dominican Republic living with his older sister and mother in Paterson, New Jersey. A fun read with lots of geek culture, great history, and oh, it also won the Pulitzer Prize.
May the half-elves inherit the earth. Grey or Drow? Tough choice.
8. Fahrenheit 451
This classic work on state censorship remains as relevant in today’s world of digital delights as it was when published in the black-and-white world of 1953.
In a futuristic American city, firefighter Guy Montag does not put out blazes; instead, he extinguishes knowledge and promotes ignorance by conducting state decreed book burnings. After an elderly woman chooses a fiery death with her books rather than a life without the written word, he begins questioning not only his profession, but also a society that allows itself to be lulled into complacency by constant exposure to state-controlled, mind-numbing television shows.
If you wonder why some people take censorship so seriously, this book will give you the answer. It’s also a fantastically inspiring story of a one-versus-a-million fight that’s worth fighting. Who knows when your turn will come?
9. A Hitchhikers Guide to the Galaxy
If Fear and Loathing in Las Vegas and Star Wars had a love-child, it would read something like this.
This colorful novel by Douglas Adams begins with Arthur Dent narrowly escaping the Earth’s destruction as it is bulldozed to make room for a hyperspace bypass. Beyond the bizarre characters and plot twists, Adams proves that despite how bleak ones situation might be, there’s always something to laugh about. Adam’s Total Perspective Vortex is also considered to be a great Zen teaching tool, so if you’re looking for the meaning of life, you might not be far from the answer here.
If you need humor to make the jump to fiction, this might be your gateway drug.
10. Motherless Brooklyn
My mother and brother are, thankfully, book snobs. I mean this in the best way possible. Books take a lot of time, after all, and life is short. So when both my mom and broha simultaneously insisted that I read this book, I had to investigate.
A thriller about a detective with Tourette Syndrome? Sign me up. It’s a hysterical romp through high-stakes problem-solving and old-fashioned crime fighting, all told through deliciously mind-tickling prose. One of my absolute favorites.
Zen school and cop tapping? Check and check.
Which one fiction book would you choose to convert a non-fiction devotee to the world of imagination?
Posted on: February 24, 2012.
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