Between the Shelves' series of interviews by Hal J. Friesen with contributors continues with an interview with me.
Vivian Zenari lives, works and writes in Edmonton.
1. What is your educational background, and how has that influenced your writing?
VZ: I have a PhD in English literature with a specialization in 19th
century American literature. I am sure my training has influenced my
writing, though I am not sure how. Many of the writers I admire are from
the nineteenth and early twentieth centuries; perhaps it’s more like I
have tried to work in fields that reflect my interest in reading and
2. Who has inspired you as a writer? Why are avant-garde authors so important to you?
VZ: These days I like Henry James (always), Flannery O’Connor, Rawi
Hage, George Eliot, and the usual modernist suspects (Virginia Woolf,
Ernest Hemingway, Edith Wharton). I just finished reading Sean
Michaels’s Us Conductors and loved/admired that. I like the absurdists
like Franz Kafka and Nikolai Gogol and postmodernists like Don DeLillo
and Paul Auster. I admire writers who take chances, I suppose. I like
the idea of transcending tradition in form as well as content. As well,
as a reader and writer I am a bit jaded, perhaps, so it takes a lot to
3. Did you have a personal interest in Dewey before you began this short story? Why did you decide to feature him in your story?
VZ: I have training as a librarian as well, and so I have been
familiar with him as a figure in library studies history. I have always
found him to be a hilariously awful person. Once I read more about him,
my appreciation/contempt for him grew. He also typifies the mentality of
the late 19th-century American (an area of history I know something
about). His ambitions and upbringing put him in the right place at the
right time. That aspect of American society interests me too–he is a
self-made man, but he demonstrates the dark side of the self-made man
syndrome: monomaniacal, overly rational, greedy.
4. What, in your opinion, are the key distinctions between literary
fiction and genre fiction? In which category would you classify
VZ: I tend to think of genre fiction as formula-dependent and
literary fiction as aspiring to be outside formula. I suppose I aspire
to be outside formula, though I realize all writers model themselves on
something, and formulas are a kind of model. Literary versus genre seems
to be a useful distinction for publishers, but the term is likewise
important to writers and readers, who have to work with what publishers
want to give them, for better or worse (okay, for worse). It’s true,
though, that some people only read detective fiction and romance
fiction, some people never read anything by women writers or written
before 2000. I don’t think this is good, but considering all the people
writing, reading, and publishing (past and present), I see why
categorization is practical.
5. What is your next writing project? Can you tell us a little about it?
VZ: I’m sending a short-story manuscript around to publishers, and
I’m slowly working on a novel. I’m starting to rev myself up for writing
nonfiction too: we’ll see how that goes.
Check out Vivian’s story “Melvi Dui Conquers All” in Between the Shelves, available now on Amazon and Createspace!
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