Interview with Bernard Grant, Author of Fly Back at Me (Sundress 2017)

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Author of two prose chapbooks, Bernard Grant is a doctoral student. In this interview, Bernard talks about the beginnings of Fly Back at Me, good books to read, and his favorite part in the process of writing. You can read Bernard Grant’s e-chapbook, Fly Back at Me, with Sundress here!


Tierney Bailey: The opening words of Fly Back at Me are “A storm is coming.” Bubbling barely under the surface in the collection of stories is a connection between actual, literal storms and the terrible things people perpetually do to hurt each other—beginning with a lie told at a lake and ending with the cycle of sexual abuse in this particular family. Can you tell me just a little bit about how this connection was formed in the process of writing the chapbook?

Bernard Grant: I’d like to, but I can’t. Writing can be such an intuitive process it’s hard to describe how connections are formed. Most I can say is that things happened in revision, after I noticed patterns in earlier drafts, and then followed them.

TB: I know you’ve written about very similar stories to those in Fly Back at Me in your published nonfiction essays, but there’s a certain staccato rhythm in reading the stories of Fly Back at Me and an obvious, deliberate use of wording which would seem to very nearly poetic in nature—what drives you to write these narratives in connected vignettes rather than out-and-out poetry or even a longer, single story?

BG: Thank you for reading my essays. The biggest challenge of writing these stories was the voice. I had never written extensively in a child’s voice, and since all but one of the stories are in first person, I spent a lot of time listening to children speak. I also read some stories from child protagonists, but mostly I read narrative poems while I worked on this manuscript.

I think the short-short form lends itself to poetic language. I’m not a poet, so it never occurred to me to write these as poems. I had intended to write this as a longer story. After about nine pages, the story fell apart. I took a look at my own essays and realized how fragmented they are, how poor my memory is, and realized I couldn’t write a linear story from life. So instead of playing with a different form—like switchback style—I decided to try out flash, and the decision worked in my favor.

TB: Your previous chapbook, Puzzle Pieces, is very similar to Fly Back at Me in that it is composed of stories meant to be sparse of words for the reader to actual consume and strung together to create a whole story. How did the simple act of creating that chapbook influence the writing for Fly Back at Me?

BG: I actually wrote Fly Back at Me before Puzzle Pieces, which was composed of previously published micro essays that I assembled into a manuscript. Fly Back at Me was more difficult as I wasn’t just assembling a manuscript from completed material.

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TB: In “Big,” a moment that filled me with so much dread while I read the chapbook on the train occurs—“[Uncle Walter] pats my butt, squeezes it, keeps his hand there. His callouses are warm and rough.”—but doesn’t come to a “pay off” until the last short story reveals the abuse hiding there in plain sight. Did the chapbook always piece together like this in your head to culminate in the reveal of the abuse or did that happen as you pulled the stories together?

BG: No. Not at all. That came through revision. I see a pattern and I complete it. I think the manuscript was supposed to originally show a year in a child’s life, revolving around the death of his grandmother, his mother’s overprotection, and the anger that fuels his behavior, as seen in the opening story, which is meant to serve as a prelude. A reader commented on the pattern of dangerous men that surround the boy, and it was clear that I needed to follow that. Almost inevitably, I’ll draft a lot of material, and the piece or pieces take their own direction. Revision is my favorite part of the writing process, in part for this reason.

TB: The age old question of process must always come up. Writing every morning, night, or using music or not using music. While writing, what rituals do you perform?

BG: Before I started PhD school, I wrote everyday, usually in the morning, and a little at night if I had the energy. I’m a morning person for the most part. Now I write when I can find the time and energy to do so. A few days a week, I have intense short sessions anywhere from half an hour to an hour. Two hours if I’m lucky.

TB: What was the last really good book you read?

BG: Howard’s End by E.M. Forster.

TB: What would you recommend as a must-read for other writers?

BG: James Baldwin’s Another Country and Rebecca Solnit’s A Field Guide to Getting Lost. Oh, and Notes from No Man’s land by Eula Biss. Also, Elizabeth Strout’s Olive Kitteridge.

TB: Many writers I know always have a huge list of projects they want to eventually produce. What project are you working on next?

BG: I just finished a manuscript of novel-in-stories. I’m currently working on a semi-autobiographical novel (my dissertation) as well as a collection of essays. Over the summer I started playing around with the idea of ghost stories. So far I’ve only drafted two stories. It’s not going well but it’s fun.



Bernard Grant is a doctoral student at the University of Cincinnati, where he is a Yates Fellow. He has received fellowship and residency support from The Anderson Center, the Jack Straw Cultural Center, Vermont Studio Center, Sundress Academy for the Arts, and Mineral School.He’s the author of two prose chapbooks, Puzzle Pieces (Paper Nautilus Press) and Fly Back at Me (Sundress Publications), and his stories and essays have appeared in or are forthcoming in Crab Orchard Review, New Delta Review, The South Carolina Review, The Chicago Tribune Printers Row, Day One, and many other venues. He received his MFA from Pacific Lutheran University and currently serves as Associate Essays Editor at The Nervous Breakdown.

Tierney Bailey is a Libra, a lover of science fiction and poetry, and studies Korean in her spare time. Amongst her pursuits, Tierney is currently the production editor at Redivider Magazine and a copyeditor at Strange Horizons. As a graduate student at Emerson College, Tierney is studying publishing in the Writing and Publishing program. True to her Midwesterner roots, Tierney still smiles upon the slightest bit of eye contact, makes small talk in lines and elevators, and exclaims “ope!” with barely any provocation at all. If you can’t find her on a train somewhere between Providence and Boston, she can easily be found screaming into the void on Twitter as @ergotierney.

Bernard Grant Releases Fiction Chapbook

Sundress Publications is pleased to announce the release of Bernard Grant’s new fiction chapbook, Fly Back at Me.

Here’s what people are saying about Fly Back at Me:
“Bernard Grant’s Fly Back at Me is filled with riches. One short-short after another shocks, hurts, entertains, and enlightens. His sentences are spot-on. If we thought we knew how households work, we discover how much we need to learn. Each page tells us a new truth and the linked whole leads us to an ending that makes us reel, makes us rethink everything, wises us up. Here is a brand-new and powerful young author whose voice insists on silence and revelation. Get in on the ground floor!”

—Kelly Cherry, author of Twelve Women in a Country Called America: Stories

“Bernard Grant’s tight and masterful collection Fly Back at Me is a story shown and never told, a mysterious and also detailed account of one childhood. We learn about a life through scene, detail, and image. Grant reveals his characters through shimmering slices of writing, fragments of a past that we can only grab onto fleetingly before going back to read and reread. Joy and tragedy and a deep mother-son love rattle here in their cages. Poignant and immediate.”

—Jessica Barksdale Inclán, author of The Burning Hour

“Bernard Grant writes with acute clarity; his language and his imagery alike are sharp and clear, and this collection seems nearly etched on the page. These fragments of childhood that Grant has gathered are—like childhood, like memory itself—both lovely and brutal, gentle and harsh. In prose utterly stripped of excess, Grant brings to life an era, a younger self, and a world that the reader will not soon forget.”

—Marya Hornbacher, author of Wasted and Madness

Bernard Grant is a doctoral student at the University of Cincinnati, where he is a Yates Fellow. He’s also received residency and fellowship support from The Anders Center, the Jack Straw Cultural Center, Vermont Studio Center, Sundress Academy for the Arts, and Mineral School. He holds an MFA from Pacific Lutheran University and his stories and essays have appeared in Crab Orchard Review, New Delta Review, and The Chicago Tribune Printers Row, among others.

The chapbook is available for FREE at www.sundresspublications.com/echaps.htm