by Sarah Luria
Anita Felicelli’s debut short story collection, Love Songs for a Lost Continent hit shelves Oct. 1, 2018, marking the third short story collection from Stillhouse Press and Felicelli’s first foray into full-length adult fiction (she is also the author of the young adult novel Spark Off You, a collection of poetry, and a children’s book). Recently, I spoke with her about how she constructed this wild narrative — replete with elements of the fantastic and recurring characters — and where she draws her inspiration from.
SARAH LURIA: You chose to feature some characters in several different stories throughout this collection, creating a powerful connective tissue that runs throughout the collection. Did you plan for the characters to reappear and change when you set out to write this book, or did that come later? What effect do you think this has on the overall narrative?
ANITA FELICELLI: I didn't have a plan for characters to reappear and change because I wrote a number of these short stories over a period of years without knowing whether they would coalesce into a collection. Every once in a while, I'd realize I wanted to write about a character that had already appeared in another story. For example, “The Logic of Someday” was a story I wrote much earlier than some of the other stories. The protagonist of that story saw her boyfriend's mother, Maisie, in a very specific, negative light. But a few years later, I had questions about Maisie. Until I imagined myself into her life and perspective, I don't think I'd fully thought through how years of poverty might harden a person. That imagining led to “The Art of Losing.” And later I realized that a minor reference in Wild Things was actually to Susannah's son, Jude. I hope that looking at the same characters from different perspectives and at different times allows the collection to feel kaleidoscopic, intuitive, and surprising. I didn't want to create the linear experience that you get from many novels in stories like “A Girl's Guide to Hunting and Fishing,” as enjoyable as I've found such experiences. Rather, I wanted the collection to have an echo of the pleasurable wildness that I often feel in real life, encountering someone from our past who exercises his or her agency, and turns out to be completely differently than what we might have expected.
“I hope that looking at the same characters from different perspectives and at different times allows the collection to feel kaleidoscopic, intuitive, and surprising.”
SL: Obviously, as an author, you draw inspiration from your own life experiences, but are any of these stories loosely autobiographical, or inspired by actual events?
AF: None of the stories can be described as loosely autobiographical. However, many grew out of an autobiographical seed or actual events I heard about that sparked my imagination. It will probably sound like a weird coincidence, but I've known more than one mother of a son like Drew in “The Logic of Someday” and “The Art of Losing” and what it's like to parent a child with severe ADHD and conduct disorder who deals drugs. Although I'm a mother now, I've also experienced infertility like the narrator in “Rampion.” I've done many, many different kinds of day jobs, including criminal defense work and writing for a hedge fund, and my close encounters in these lines of work color the plots of “The Logic of Someday,” “Once Upon the Great Red Island,” and “Swans and Other Lies.’”
SL: Many of these characters oscillate between extremely hopeful and extremely cynical world-views. What was it like to move back and forth from the darker moments in this collection, and those which feel more uplifting?
AF: I think the radical shifts you notice follow my own train of thought, and my own experience of the world as a place of infinite variety and range—somehow both absurdly wonderful and deeply horrible at the same time.
SL: Several of your stories, like “Deception” and “Rampion” ring with a sort of mythical, adult retelling of a childhood fantasy story. What fantasy stories were most influential to you as a child, and did any of them serve as inspiration for the stories in this book? How did you come to embrace the magical or fantastic in your writing?
AF: I was a voracious reader of fantasy and magical stories as a child—it's cool you picked up on that. I loved Madeleine L'Engle's time series: A Wrinkle in Time, A Wind in the Door, and A Swiftly Tilting Planet. Other early favorites were The Chronicles of Narnia, the Andrew Lang fairytale books, Zilpha Keatley Snyder's books that toggled between realistic stories about make-believe and full-on fantasy, Lloyd Alexander's The Chronicles of Prydain, and the Amar Chitra Katha comic books that retold Hindu epics and myths. “Rampion” is a retelling of Rapunzel from the witch's point of view. “Deception,” about a young woman who marries a tiger, is partly based on a folktale similar to Beauty and the Beast that appears in multiple regions of India in different forms. “Once Upon the Great Red Island” is partly based on Malagasy folklore.
I'd written in a barebones minimalist style about subtly strange events or characters as far back as high school. A lot of the American writers I was reading back then were influenced by Raymond Carver and John Cheever and so I thought you had to carve the writing down for it to be “good.” As an English major, I'd focused on British literature, however—Shakespearean plays, Tristam Shandy, Wuthering Heights, The Mill on the Floss, Vanity Fair, Bleak House, and Sense and Sensibility. I always assumed that was the kind of fully realized fiction weighted towards the real, but playing with form or coincidence, that I might one day write. I came to embrace the fantastic again after becoming a recluse due to a devastating, disabling event in my late twenties. I didn't think I would ever recover from what had happened to me. Outside of my day job, I barely interacted with other humans, and instead for almost six years, I spent my free time hanging out with my two corgis and reading from the read-lists that my now-spouse Steven emailed to me from afar. These were lists populated with authors like Adolfo Bioy Casares, Silvina O'Campo, Victor Pelevin, Italo Calvino, Franz Kafka, Gabriel Garcia Marquez, and Bohumil Hrabal. I later discovered Helen Oyeyemi's and Kelly Link's fiction. Reading these masterful magic realist authors from all over the world made me realize that writing further into the realm of the fantastic didn't have to satisfy an escapist impulse, but was more like digging into a deeper reality.
“Reading these masterful magic realist authors from all over the world made me realize that writing further into the realm of the fantastic didn't have to satisfy an escapist impulse, but was more like digging into a deeper reality.”
SL: Your stories offer many different characters, with varying points of view. What kind of audience do you think this collection might most appeal to?
AF: My hope is to appeal to open-minded readers who genuinely value pluralism and the full possibilities of the imagination. Hopefully that doesn't sound ridiculous.
SL: One of my favorite lines from this book is: “Something about the hungry way he was looking at her from under his long lashes made her feel like he was drinking her down.” You write passion so well. What advice do you have for aspiring writer looking to write compelling, realistic romance stories/scenes?
AF: I try to come at passion a little slant. Whenever something is erotic, I find that there are a lot of other complicating feelings there, too. Often those are feelings that might challenge a cohesive sense of self. So, I try to reveal vulnerability or humor or even the slightly dangerous feeling of an erotic encounter rather than present a conventional wine-and-roses romance. When I do hit more in the wine-and-roses register, I try to subvert that energy through later plot points.
SL: Your last book, Sparks Off You, was a YA novel—obviously quite different from this collection in both tone and structure. What were some of the major differences in language, story development, and character that you see between writing YA and adult fiction?
AF: There's a quote by Madeleine L'Engle: “You have to write the book that wants to be written. And if the book will be too difficult for grown-ups, then you write it for children.” I'd originally planned Sparks Off You to be an adult novel about teenage characters, in the vein of Ian McEwan's The Cement Garden or J.D. Salinger's The Catcher in the Rye, but many drafts later I realized it was YA-like, possibly because I was 24 when I first believed I'd completed it, and my teenage years weren't very far behind me. The prose in Sparks was poetic, sometimes purple, but over the years, I trained that out of my prose voice because I came to believe it distracted from the story. My dear college roommate is a commercial YA author, and I think the bigger difference between our approaches is not the YA-adult audience divide, but that she is very focused on story and plot, and I'm focused on language.
As for character, although there are gigantic differences between my life and the artist protagonist in Sparks (my mother is alive, for instance), I gave that protagonist my personality and perceptions. In contrast, I've never written a character in adult literary fiction who is consciously based on me. The older I get, the more I believe that other people are much more interesting than I am.
SL: Lastly, your book deals a lot with the tangled relationship between identity and the lives we live. Looking back on yourself as an early writer, what writing advice might you give to a younger Anita Felicelli?
AF: Oh, this is a difficult one. I was just at my parent's house and stumbled across a middle school literary magazine for which I served as fiction editor, and read three of my poems in it. I was an extremely sensitive teenager with a dark mind, but the one thing that got me through adolescence was that I had been absolutely certain from the age of five that I could be a fiction writer as an adult. So, I wouldn't want to disrupt that huge, early confidence in my identity as a writer. I think it would have shocked me to know how long and how hard I would work as a fiction writer over the next decades. I didn't understand that a creative path is much, much harder to achieve anything in than a law job or corporate job is, perhaps especially for people of color who have an unusual perception of the mainstream culture and are actively trying to make a space for their perceptions that doesn't exist already. One story I wrote in a college workshop, “Wild Things” didn't find a home in the '90s, but a few years ago, a revised version found a home with a journal that didn't even exist when I'd written the first draft. So, I think my advice to young Anita Mohan would be to hold onto that confidence in your work—believing that your fiction is important when nobody else does is what allows you to persist through the weird looks, the lack of interest, and the pitying or discouraging remarks from those who are on more straightforward paths. I was raised in a home where external validation was very important. I used to feel really deflated by rejection letters even if they were handwritten and included praise and it would take me a little while to recover and steel myself up to submit again in spite of my cocky, outsize belief in myself... I'd advise Anita Mohan to place less value on external validation and submit more frequently. With very frequent rejection, a thicker skin naturally grows and your odds of being accepted increase.