An interview with Mary Costello
by Elizabeth Rose Murray (originally posted on Cork International Short Story Festival 2011 blog)
As a writer, and a reader, what attracts you to the short story?
As a reader I like the contained feel of a short story. I like to be taken into a character’s head, experience some small almost imperceptible shift in their being. I like to be quietly and subtly disarmed. The best short stories have a purity that both seduces and reduces the reader.
I kind of stumbled into the short story form. At 22 the need to write began to gnaw. The short story seemed like the quickest access route to something, the imagination probably. Richard Ford says that he wrote his first story ‘because lived life somehow wasn’t enough, in some way didn’t hit the last note convincingly and was too quickly gone.’
What challenges did you have to overcome when putting together your collection, to be published by The Stinging Fly early next year?
Oh, trying to hit that last note, I suppose. In each story, in each rewrite, you’re straining for it and you think you’re close but like a mirage in the desert it’s always just that little bit further off. You’re writing towards it, to hold it and keep it. So the greatest challenge in getting the collection together was knowing when to stop tweaking. Unlike other writers I never got to the point where I inserted a comma and then, in the next draft, removed it. I might well turn up at the printer’s door pleading to be let in and change one more word an hour before it goes to press!
Short stories are often overlooked as a genre – from curriculum reading lists to publishing opportunities. Why do you think this is?
Yes, considering Ireland has such a strong tradition and is so highly regarded in the form it is quite baffling that short stories are so rarely prescribed reading at all three levels in the education system. I don’t know why that is, apart from a certain blindness perhaps, and the perception that only writers read short stories.
What would you say was the most exciting event in your writing career so far and what would you like to achieve in the future?
Naturally, having The Stinging Fly Press offer to publish my first collection- a great thrill. These days short story writers have almost given up hope of publishing collections- I know I had. Most move onto writing novels because the novel appears to offer the best chance of getting published. I do have a draft of a novel written but I continue to write stories. I can’t not- I’m addicted. The future? Just to keep writing.
What writers have influenced you?
Early on poetry had- and still has- a great influence- Yeats and Eliot especially, Gerard Manley Hopkins, Ted Hughes. When I started writing I read the Americans- Carver, Ford, Flannery O’Connor, Cheever, Updike, etc. Ian McEwan’s collections First Love, Last Rites and In Between the Sheets made a great early impression. Then, one August, I found myself trapped for two weeks in a self-induced nightmare- a package holiday in Cyprus. The Beggar Maid and Dance of the Happy Shades and a quiet corner of the air-conditioned hotel lobby saved me. Outside the earth fried but I was transported to Northern Ontario and tumbled into something I had hungered for. Seamus Heaney in an essay in The Government of the Tongue describes first coming upon Kavanagh’s poem ‘Spraying the Potatoes’and how excited he was to find the ordinary familiar details of rural life- things he considered beyond or below books, like headlands and blue potato spray- standing their ground in the world of literature. Alice Munro was my Kavanagh.
Another favourite writer is J.M. Coetzee. I sometimes wish he’d write stories too… imagine, that quiet reflection, the sorrow dropping, the suffering of animals. He read in Listowel a few years ago. He was very brittle and I was very awed. I think that if I’d approached him to have my book signed one of us might well have fainted- more likely my awe would have knocked him out.
Ethel Rohan discussed three of the most influential short stories she read as a teen in an earlier blog post – do you have any particular favourites that you’d like to share with us?
Yes, like Ethel, the school stories mattered and later in college, The Dubliners. Alice Munro’s title story in The Beggar Maid, and another one, Material, were early influences. Her stories have a unique emotional reach. She does time transitions superbly too- the passage of years and generations- she does these quietly, seamlessly. In just a few words, in fact.
I know immediately if a story has that blue-potato-spray effect, that Cyprus feel. The heart races. I read with greed and cannot get enough. Clare Keegan’s stories do this, and Amy Bloom’s, and recently, James Salter’s. Salter’s story My Lord You completely arrested me.
(To view this interview on the CISSF blog, click here)