Misplaced Person – Eric Lundgren

Eric Lundgren is the ideal writer to interview about place–first off, his soon-to-be-released, amazing first novel The Facades is all about it, and second of all, because I see him everywhere, all over town. He pops up the way memory does. Like, hey, where did that come from? I’ll be downtown looking at the quarters at the bottom of a fountain and wondering why people don’t just throw pennies (you get one wish, no matter what the value of the coin happens to be, right?) and I’ll look up and there’s Eric Lundgren, across the park. Or I’ll be driving along Kingshighway, stuck behind some city utility truck that reeks of tar, and I’ll see Eric Lundgren walking along the road. I don’t even think there’s a sidewalk there! But in a flash it’s too late for me to shout out, offer him a ride. And, you know, it’s really hard to turn around right there. Anyway, the point is as far as I know Eric Lundgren is everywhere. I have a feeling the rest of you are going to feel that way soon. Keep your eyes open.

– David Schuman

Eric Lundgren – Essay in Response to Interview Questions

I was born in Cleveland in 1977. I lived there for only six months and have never been back, except once passing through it on an Amtrak train. I can’t decide if I want to visit or not. Sometimes I prefer my own delusions about places. According to my parents, I also joined them in the late seventies for a backpacking trip across the Alps. In the pictures I appear as a spectral presence and barely formed being. That trip still represents my longest stay in Europe, although I have returned to spend time in the U.K., Germany, and France. My knowledge of Europe comes mostly from its fiction, although my parents are very well-traveled and my father taught high school German, so we hosted guys named Horst, Gerhard, and Klaus at the house when we were kids. I think a dream of Europe hangs over my otherwise very American work.

Naming the Midwestern city in my first novel after Trude, from Calvino’s Invisible Cities, felt like a provocative gesture when I started the book, eight years ago. The idea of a continuous city where everything is familiar and only the name of the airport changes, I took this to be a widespread coastal prejudice about the Midwest. The challenge would be to render my Midwestern Trude as a locale of real intrigue, sadness, and fascination. In trying to achieve this, I ended up conflating many of my own Midwestern experiences, many of them taking place in Minneapolis/St. Paul, where I grew up, many others drawn from St. Louis, where I’ve been living while writing the book. So maybe I ended up undercutting my own point and saying that all Midwestern experiences are on the same continuum—I’m not sure.

One of my ambitions is to write about the Midwest not in a gently humorous mode, a la Garrison Keillor, or as a theatre for quietly snuffed realist dreams, but in a sort of estranged, almost grotesque mode, the way Flannery O’Connor wrote about the South, or the way Thomas Bernhard wrote about Austria. This could be a deeply bad idea. I find the region on the whole quite weird, including the widely held belief of its inhabitants that it’s a second-class place and not really worth discussing in detail.

So yeah, the play of light and shadow on wind-flattened cornfields, emptied Main Streets, agricultural conglomerates, methamphetamines, taciturn people in sweatshirts, prairie dogs, the crickets at night, abandoned movie palaces, Super Walmarts, the schizophrenia of the weather – these are all elements of the region that feed my imagination.

A correspondent for Al Jazeera wrote a column arguing that all American cities would come to resemble St. Louis in the 21^st century. That may be—in any case, you do see staggering inequities of wealth displayed here. Total wealth and total poverty coexisting within a few city blocks of each other. We have all the urban problems. You’re acutely aware of living in the shell of an older, greater city. But sometimes I see a building and I’m not sure if it’s in the process of demolition or half-built – going down or up. That sense of ambiguity draws a lot of creative people here. There is a sense that you can do something.

The Arch, unlike many other visual clichés I’ve encountered, gathers depth and magnificence the longer you live beside it, seeing it from different angles and in different light. I remember returning to the city in a rainstorm once and watching it almost hover out of a cloud. In 1965, William S. Burroughs wrote that it looked like the only landmark to survive an apocalyptic event, and I was pleased to see that this was the premise of a recent SciFi network series. Despite what an icon it has become, there is a quiet reverence for the Arch here. Likewise, my time in this city has been rich, surprising, multifaceted.

About the Author

Eric Lundgren was born in Cleveland, grew up in Minneapolis, studied in Portland and St. Louis, and would like to be in Berlin this summer. His first novel, The Facades, is published by The Overlook Press in September.

Misplaced Person: Kent Shaw

Poet Kent Shaw is the next in our series of wanderers. Kent’s peripatetic nature has led him out to sea and back again. Landlubbers in West Virginia have got him now, and here’s what he has to say about it.

– David Schuman

Where do you originally come from?

I want to say St. Louis. Because it makes me proud to say I’m from the Midwest. I understand for some people Midwesterners are dull. But what’s really dull is Oklahoma, where I spent at least half of my childhood. Everything in Oklahoma is flat. The oldest mountain range in the United States, the Arbuckles, are in Oklahoma, and before the state could be accepted into the union, it had to agree to push the mountains into the earth so that the whole state would be an undying, uniform flatness. There is nothing mythic in Oklahoma. I think I might have broken my fingers in Oklahoma trying to dig up red clay. That’s the most remarkable part of Oklahoma.

But I am from St. Louis. Because the eight years I lived in Oklahoma, I wished I could live in St. Louis. And when I was discharged from the Navy I returned to St. Louis. And, honestly, my wife and I have established a careful account for my emotional immaturity where you have to subtract 8 years from my age to find my Actual Human Maturity. In Actual Human Maturity terms, my years from 24-35 were still formative, like they were on the edge of my childhood. And since I was living in St. Louis during those years, it is undeniably proven that I am of St. Louis stock.

What geographical area would you say defines you as a person and maybe also as a writer? This can be a specific place (New York, Cleveland) or a geographical element (mountains, prairies, ocean). How has this place or element defined your work, if it all?

I like oceans. I am writing poems for a third book right now, and there are oceans everywhere. Moving in. Imposing themselves. Employing financial derivatives. Posing for sculptures. The title to my second book (in manuscript) is Gigantic. The title to my first book (published) is Calenture. And these are both codes for OCEANS EVERYWHERE, MOTHER FUCKERS!! The first time I saw the ocean at sea was in the middle of the North Atlantic. We were steaming to the Persian Gulf. I had followed some friends up to the top of the Tower to look out at the ocean. And there aren’t words for what I saw. The ocean is gigantic. It is blue. But not the blue you’re thinking. It’s a deep blue. The darkest blue. The blue that you reach for from 10-stories at the top of the Tower on the U.S.S Eisenhower, but I assure you that’s still not the blue that you’re thinking. I will be in love with that blue for the rest of my life.

Describe where you are now–describe a few things you’ve learned about this new place that have surprised/frightened/frustrated you?

I live in West Virginia now. And I don’t belong here. And this isn’t an I’m-supposed-to-be-from-the-Midwest kind of non-belonging. West Virginia feels like a foreign country. And I don’t know why that is. But I am not of these people. I felt the same way when I lived in Houston. I am not, will not be, cannot be, have no wish to be Texan. Even a Houston, Texan. I could comfortably spectate on Texans. They are fascinatingly arrogant. But there is something about West Virginians, and I haven’t learned how I am supposed to fit among them.

I am frightened by the poverty in this state. It is insidious. It is unrelenting. I looked up the median income for Huntington, where I live, and it’s a third of the national average. This is no joke. The people who have money live in the mountains so that they are looking down on the city. I used to mock that “noble steed” they put at the doorway for P. F. Chang’s. I thought it was a piece of suburban kitsch. A couple weeks ago, my wife and I took a day trip to Lexington, and I thought the horse aesthetically pleasing.

How has your current location filtered into your work or your writing life?

The geography of the state is gorgeous. I drive 45 minutes to work. The sunrise over the mountains is beautiful. The trees, bare of leaves, standing in formation at either side of the highway are beautiful. Last year leaving a Starbucks, I saw a herd of 20 deer leaping along the edge of a mountain, and I felt a rush of life. I don’t understand mountains, which is to say I feel humbled and troubled and awed being among them.

Before we moved here, there were mountains in my poems, but they were the Rocky Mountains. My mother lives in Denver. Coming here the fall of last year, the mountains started showing up everywhere in my writing. I suppose mountains and oceans are the primary population of my poems. Essentially I put anything that’s bigger than me in my poems. And since I’m not really that tall, that usually includes most people I meet. And a lot of these people are from West Virginia. And I keep trying to figure out what they’re doing there. And what they think of me.

About the Author 

Kent Shaw’s first book Calenture was published by University of Tampa Press. His poems have since appeared in The Believer, Ploughshares, Boston Review, TriQuarterly and elsewhere. He is currently an Assistant Professor at West Virginia State University.

Read Kent’s review of Murder Ballad by Jane Springer at The Rumpus here:

http://therumpus.net/2013/02/murder-ballad-by-jane-springer/

Misplaced Person: Ira Sukrungruang

I’m happy to present the second in our series of interviews about being a misplaced writer. Ira Sukrungruang writes about place, and all that means, with humor, passion, and disarming beauty. If he were an ancient god, he’d have three heads–one for nonfiction, one for fiction, and one for poetry, all of which Ira writes. I believe that god is called Unfair.

– David Schuman

1) Where do you come from, originally?

I’m a Chicagoan. But if I were in Chicago I’d have to say a Southsider, and I’d have to do it with a sneer and say it with a voice that comes deep from the gut. I might even have to throw in a swear or two just to prove the point. I might have to call you Sally because everyone’s a Sally, which is to say the Chicago I grew up in is a working class Chicago, a concrete and steel Chicago, a Chicago that does not know political correctness.

If you asked my mother, however, she would tell you I come from Thailand. That Thailand was in my blood, no matter what country I was born in. She would say being born does not indicate who you are. Being born is a moment, and a moment is not genetic make-up, does not account for my ancestry, and all the ghosts that has followed her to this country, and the ghost she left for me when she retired and returned to Thailand in 2004.

2) What geographical area would you say defines you as a person and maybe also as a writer? This can be a specific place (New York, Cleveland) or a geographical element (mountains, prairies, ocean). How has this place or element defined your work, if it all?

I’m trying to understand this as an immigrant son and writer. For the longest time, the city defined me, like how the city defined my immigrant family. We felt safe in the city, despite what crimes the TV news reported each evening, despite the gangs, and racism we experienced in the early 80s. The city was about the crowd. There was comfort in a crowd. In a crowd, we could see what dangers were coming towards us. In a crowd, we could blend because in a city there were other immigrants like us, feeling the same way. There were so many hiding places in a city. Our family vacations were always to ultra touristy cities with a lot of artificial sounds. Those sounds were so much more comforting than the sounds of birds or the silence of nature.

Now, however, I’m beginning to see the country as something not to fear. I married a poet, after all, who is in love with the prairie. This has forced me to confront my fears of landscape. And these fears are about trust. My immigrant family never trusted America. Being in the country forces you bond with the land in ways a city never requires. To live in the country, to make a home in the country, there must be a love for the land, but what is also underneath the land. It is also a love of space and solitude. To love a city is to love the assault to the senses that a city represents. Is to love pace. Is to love the music of artificiality.

And then there is the Motherland, Thailand, and stories I have grown up with about Thailand, and vacations to Thailand.Thailand is both mythical and real. Thailand is like the temples that dot the countryside, something otherworldly, some jeweled fantasy land, among the modern high rises of Bangkok, or the rice fields of the central plains.

These three dynamics are what’s in play when I write, whether it be fiction, nonfiction, or poetry. It is a topic I constantly come back to.

3) Describe where you are now–describe a few things you’ve learned about this new place that have surprised/frightened/frustrated you?

I’m in Tampa, FL, now. There’s something wild about Florida. I love when I walk and lizards scurry away from my steps. There is something Jurassic Park about it. I love the birds. I can’t get over them. To see sandhill cranes chillin’ in the medians of busy streets or ospreys nesting on electric poles or pelicans and great blue herons waiting for fishermen scraps. I’m astonished by how the color green seeks to devour everything in the summer. Florida is the south, but a different kind of south. South with a latin beat. South that is diverse in culture. South filled with Northerners. It’s pretty awesome really.

4) How has your current location filtered into your work or your writing life?

I was at literary panel my graduate students were doing at a Florida writers conference, and one of the panelists said something like, we write about the places we’ve been at the place we are. I think this is true. Much of my writing is about Chicago, central Illinois, Thailand, upstate New York. I don’t think I will stop writing about those places. But I’ve noticed that small parts of the natural world in Florida has made into my writing. It’s like the cute little geckos here. They come in without you noticing and leave. Subconsciously, Florida is invading, like a vine that wants devour a house. I think Florida is so different from the other places I’ve been that it will naturally become part of my literary landscape. As a writer, we catalogue the details of setting, and the details of that setting becomes part our lexicon.

About the Author

Ira Sukrungruang is the author of the memoir Talk Thai: The Adventures of Buddhist Boy and the coeditor of two anthologies on the topic of obesity: What Are You Looking At? The First Fat Fiction Anthology and Scoot Over, Skinny: The Fat Nonfiction Anthology. His poetry collection, In Thailand It Is Night, was awarded the Anita Claire Schraf Award, and forthcoming from University of Tampa Press. He is the recipient of the New York Foundation for the Arts Fellowship in Nonfiction Literature, an Arts and Letters Fellowship, and the Emerging Writer Fellowship. His work has appeared in many literary journals, including Post Road, The Sun, and Creative Nonfiction. He is one of the founding editors of Sweet: A Literary Confection (sweetlit.com), and teaches in the MFA program at University of South Florida and the low-residency MFA program at City University in Hong Kong. For more information about him, please visit: www.sukrungruang.com.