I point out that he has more compensated for any lack of an undergrad lit degree, having finished an M.F.A. RB: Do you think the piece is finished when the story is written? Should more novels be small and distilled? I have a few — one is a [portable] Hermes 3000, which reportedly was the typewriter of choice for journalists. If the BEA invited me, I would go. This piece of writing puts a smile on my face with its protagonist's character and saddens my heart with honest depiction of our rotten system. RB: Sure, but within the usual window of attention. But other books are coming along with good reviews. RB: That does speak to the assumption that writers should help their publishers promote and sell their books. RB: Is there one thing that moves you in taking up or developing a story — a name, an image, feeling, a memory? EP: And now they have readings. RB: And then you got better since you wrote it? EP: Thirteen new stories that had not been in a book. I once was on a lineup that included David Sedaris and I was the first reader and he was the second. The obvious follow up question is: what is the secret to writing a good story? People who read, people who write–. The man looks puzzled and nods no, and Yuri scans about and sees me waving. EP: I took a course in college and a course or two in my 30s. Edith Pearlman on Fame and the Importance of Short Fiction, What It Is to Be Alone: The Millions Interviews Anne Enright, Over the Brink of Disaster: The Millions Interviews Elisa Gabbert. Edith Pearlman: Interesting question. “The Ministry of Restraint,” in part because I didn’t know what was going to happen — how well do you remember your stories — pretty well? Yes there is. I like words and phrases and paragraphs that do several things at a time. EP: All of those things. I think it was Lamb’s Tales From Shakespeare. Mexican writer Yuri Herrera is the author of the novels Trabajos del reino [Kingdom Cons], (2004), Señales que precederán al fin del mundo [Signs Preceding the End of the World] (2009), and La transmigración de los cuerpos [The Transmigration of Bodies] (2013).All three novels were published by Lisa Dillman. C’mon! No, I think I went back to Mary Poppins. EP: It certainly has. Love to go to the movies. The main character has a name that sounds more like a nickname, Lobo, and very quickly he becomes simply the Artist, and he is surrounded by the Girl, the King, the Heir, the Commoner, who in the final pages of the novel becomes simply She. All else flowed from that. EP: No, I have a general love of movies. Anything And Other Stories brings out is worth checking out and Yuri Herrera in particular is just a fantastic, fascinating writer. RB: (Laughs). One is tempted to attach the pop-cultural sobriquet “overnight sensation” to writer Edith Pearlman’s current moment in the sun. This is the big American convocation of the book industry. It can be appreciated in many ways. RB: You gave me the impression that you aren’t required to read any particular writer. Many years ago, the writer Rivka Galchen loaned me Francisco Goldman’s first novel, The Long Night of White Chickens.The musicality and irreverence of the title was equally manifest in the verve of the writing, and in the novel’s searching questions about a … EP: Why don’t they have that luxury in their off hours? RB: There is also the matter that the creator has expectations of the audience to grasp their creation in a certain way. For example, he says, he “could write an entire chapter just so it could include a single word.”, I mention the presence of phonetically-spelled words and expressions in his books’ Spanish versions. I was distracted by the card game interlude. The Beyond the Bars category is open to incarcerated juveniles nationwide, with no entry fee (one entry per person). And a few weeks later, the writer decides the editor was right (laughs). A few months. RB: Is there a group of people you talk with about writing? I am certain you know the stories of writers who have submitted their books to many publishers and were rejected. RB: (Laughs) I took your breath away. TM: When the Artist’s songs were banned the King comforted him, “He smiled and his smile seemed a protective embrace that said to the Artist, Why sugarcoat the ears of those fuckers? RB: Movies are made that way — out of narrative sequence. As he explained to me in an interview, Herrera’s protagonists share a border condition, something much more complex than simply occupying the border between two countries: a border is “any situation where you have different individuals and different communities exchanging values, exchanging goods, always in conflict but also in different levels of dialogue.” I ask: does he know the ending for a story before he starts writing? RB: What’s come out that has really excited reviewers? He accepts, and, only after my wife insists, sits in the front passenger seat. RB: Big city life in Baltimore — drugs, unions, corruption, public schools, politics, media. EP: No, no. I was in an event in which three short stories were read by three actresses which was a lot of fun. In 2016 she won the Best Translated Book Award for Signs Preceding the End of the World. And I read somewhere that Nabokov wrote his novels that way on 5×8 cards. They don’t let you do that now. EP: Music mostly. “He knew blood, and could see this man’s was different. Plus the optimistic message for the readers, we have bear the costs if we wish to live in a better world. This site uses Akismet to reduce spam. And, of course, it’s told in pieces. Again, Yuri pauses before answering. All of your books are approximately the same slim size, somewhere around 100 pages. EP: Right. Stumble about? 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