Interviews
On Tuesday, January 20th, barnesandnoble.com welcomed Robert Olen Butler to discuss THE DEEP GREEN SEA.
Moderator: Pulitzer Prize-winning author Robert Olen Butler is joining barnesandnoble.com tonight to discuss his latest work, THE DEEP GREEN SEA. A lyrical work of love and tragedy set in present-day Vietnam, this novel strikes deep as it elucidates the still-present pain of a peaceful land grappling with a violent past. Thank you for joining us tonight, Mr. Butler. We're thrilled to have you with us. And Happy Birthday!
Robert Olen Butler: I'm delighted to be here. I am an avid Web browser and pleased that some of my recent fiction has appeared first on the Web -- at Mississippi Review and Nerve magazine. And I have a home page at Web del Sol [www.webdelsol.com]. I'm looking forward to the questions tonight.
Benjamin from Nashville, TN: Mr. Butler, you write a good deal of erotic fiction. Your words are especially vivid in their romantic and sensual detail. Is this something you just feel, or is it something you had to learn? Basically, did you have to fall in love yourself before you could write this way?
Robert Olen Butler: I think all writing that aspires to art must come from the writer's unconscious. Art is not created from the writer's rational, ideational mind but from the writer's dream space. So, yes. All the themes of my work come from the rich mix of my own life experience, driven deep into my unconscious. Which is not to say that my work is autobiographical. Only the things that the writer forgets about the literal past can be effectively used in creating a work of art.
Yvonne Ortiz from Tallahassee, FL: Did you grow up in Louisiana? I am wondering how you came to teaching at McNeese State. Ever thought about teaching anywhere else?
Robert Olen Butler: I grew up in a steel mill town in the Midwest -- Granite City, Illinois, which is just across the river from St. Louis. I've been in Louisiana for 13 years. I came here as a release from the Long Island Rail Road. I was working in the late '70s and into the mid-'80s as the editor in chief of a business newspaper. I lived in Sea Cliff, Long Island, and commuted every day to Manhattan. Every word of my first four novels was written on legal pads by hand on my lap on the Long Island Rail Road. Finally I got my Ph.D. at the University of Knopf (that is, I had enough publishing credits to teach at a university without an academic Ph.D.) and the McNeese job was the one that was available. I was very fortunate. I love McNeese and I love Louisiana. After the Pulitzer I had many job feelers come my way but I turned them all aside.
Anna from Manchester, VT: I can't think of any other writer who deals with Vietnam in the same sense that you do -- lyrically, with little of the violence and battles of the typical mass-market characterizations (e.g. Oliver Stone). Why do you think your point of view is so different?
Robert Olen Butler: The difference in my writing comes from the fact that I spoke fluent Vietnamese from my first day in Vietnam. The Army had sent me to language school for a full year before I went over. I submerged myself in the Vietnamese culture and landscape while I was there, and the Vietnamese people, I think, are among the warmest and most generous-spirited in the world. They invited me over and over into their culture and into their lives as I did my favorite thing -- wandering the steamy back alleys of Saigon after midnight almost every night. My point of view is also different because I'm not really writing about the war or even Vietnam, per se. I was asked once how I saw myself as a "Vietnam novelist," and I answered that I am a Vietnam novelist the way Monet is a "lily-pad painter." My true interest is in the universal human condition.
Rick from sisna.com: Mr. Butler, I am a big fan and am eager to read this new novel. Did you do any research, traveling to Vietnam to write this book? What were your impressions, if you did, which I assume you did?
Robert Olen Butler: I went back to Vietnam in 1993 and again in 1995. But it wasn't "research" in the usual sense of the word. I went back and submerged myself once more in the culture and the sensual flow of life in Vietnam. My impressions are probably too long to go into here, though I can say that the vitality and the warmth of the Vietnamese are undiminished and in many respects the country bears little resemblance to a communist country now. You can read an article on my trip at my page at the Web del Sol Web site.
Barbara from Red Lodge, MTMr.: Mr. Butler, I'm thrilled you took my question! I've been a follower of your work for years! Your descriptive prose is so simple, and incredibly resonant. Do you have any suggestions for someone who wants to construct believable description?
Robert Olen Butler: A work of art is an organic whole, and so believable description must resonate with all the other elements in the piece. As I mentioned in an earlier answer, art comes from the unconscious, and the unconscious is entirely sensual. You need to ravenously store up sense impressions and then call them up in the trancelike state of creation, working from the dream space and not the analytical mind.
Owen from Langston, KS: Do you write daily? What's a usual writing schedule for you?
Robert Olen Butler: Yes, I write daily. I think that is absolutely necessary for a fiction writer who aspires to art. The connection you must make to your unconscious is hard to forge and intimidating to maintain, but if you go back every day, it is somewhat less difficult. If I stop writing in the midst of a project for even three or four days, the connection to the unconscious seals itself up, and I feel as if I've never written a word before in my entire life.
Jim and Justine from Nashville: Hi, Bob. It was great to see you at ALA in New Orleans. We look forward to seeing you again in Nashville. What was your first reaction when you heard you had won the Pulitzer Prize? Does winning the prize really help much with book sales?
Robert Olen Butler: Hi, Jim and Justine. My first reaction to the Pulitzer was twofoldI was unspeakably astonished (the short list of the Pulitzer is never made public, and so I didn't even know I was in the final running) and I was struck by a sudden and long-forgotten feeling that there might be some justice in the literary universe after all.
Everett from Albany, NY: Your work incorporates a good deal of Vietnamese mythology (the jasmine flower and the marriage of the dragon and the princess). I loved the inclusion -- it truly fit the tone of Ben and Tien's romance. Tien often "invokes" mythology when she has a moment of uncertainty. What value does myth have to her? And to you generally?
Robert Olen Butler: For Tien and for me and for our culture, and all cultures in all times, myth represents our deep impulse to take the feelings and concerns of our individual private lives--feelings and concerns which we deeply fear are ultimately insignificant--and to project them into persons and events and situations that are grand in scale. That way we feel that our quotidian lives are part of something universal and significant. I felt the same thing about the tabloids I used in my last book of stories, TABLOID DREAMS.
BDT from Denver, CO: Mr. Butler, do you have any favorite books that you reread year after year?
Robert Olen Butler: I read my wife's work over and over. Her name is Elizabeth Dewberry -- her two novels, MANY THINGS HAVE HAPPENED SINCE HE DIED and BREAK THE HEART OF ME, were published under her old name of Elizabeth Dewberry Vaughn. In fact, we fell in love with each other reading each other's books before we ever met. Of the classics, I return to Graham Greene and Ernest Hemingway and Flannery O'Connor and James Joyce (before ULYSSES) and Charles Dickens. When I have the time, that is. My reading has suffered in recent years from my brutally busy schedule. And I am a very, very slow reader of fiction. I must read fiction at a speed that allows me to hear the narrative voice in my head. That means slow.
Doug from Boca Raton, FL: I think reconciliation is a common theme in most people's lives whether it's about reconciling your beliefs with the religion you were raised with or old traditions with new ones. Tien grapples with past and present, as does Ben. My question for you is, Is reconciliation possible? Is it possible to mediate the old and the new?
Robert Olen Butler: Your question is a good one, but as an artist it is hard for me to answer you in an abstract or philosophical way. My answer is in the body of my work. And even there, I don't want a reader to understand my work in a rational way; I want a reader to thrum to my work. To resonate to it. But I think I can say I do believe in reconciliation, though it is often won only against severe odds and after serious hardship.
Glenn from Fairfax, VA: Unlike many vets, Ben seems to have a rather pleasant recollection of Saigon, or at least he's at peace with his past. But his idyllic reckoning turns quite ugly at the end. What point were you making? I love your work!
Robert Olen Butler: As I said in a previous answer, I hesitate to restate my work in abstract or philosophical terms. The "point" an artist makes is to articulate a vision of the world not through ideas but through the reshaping of moment-to-moment sensual experience into an organically whole and resonating object that is a novel or story. But I will point out that haste and self-deception have for millennia been common character traits in tragically fated characters in literature.
Moderator: Thank you for coming online tonight, Mr. Butler. How would you sum up our conversation?
Robert Olen Butler: I was very impressed by the thoughtful questions that were asked. I hope those who sought a clearer analytical explication of the work will understand why I sidestepped a bit in my answers. The questions were good ones. Fruitful philosophical discussion can often flow from works of art. But when all is said and done, I urge readers to return to the aesthetic response in their reading. Fiction is a mode of discourse and a way of "knowing" about the world that is different from any other. The biggest questions of existence are addressed in art, and part of the answer art provides is that the intellect is finite. The sensual self, the dream space, the intuitive spiritual parts of the reader are capable of ways of understanding far beyond the grasp of the mind. These are the parts of the reader that must engage the work of literary fiction. In this way the reader shares in a mutually created experience.