A few years ago, the writer Joy Williams’s favorite church needed to dispose of a few extra pews after a renovation. Williams attends the church only in April and October, when her frequent cross-country drives take her to Laramie, Wyo., but she wanted a pew anyway. She borrowed a trailer, got a friend to help her load the pew and drove a thousand miles, pulling it behind her enormous Bronco, her two German shepherds in the cab with her. Now the long, dark pew lives in her house in Tucson.
When Williams was a child, her father was a minister at a Congregational church in Portland, Me. ‘‘He gave a beautiful sermon,’’ she said as we hiked through Arizona’s Santa Catalina foothills on trails she walks every morning. I asked if she had ever considered being a preacher like her father: Her stories often reveal themselves as parables, and her writing on the environment is equal parts fire, brimstone and eulogy. ‘‘Oh, no, I’m too shy,’’ she said, before lapsing into a companionable silence, the only sound her Chuck Taylors’ crunch on the trailbed. ‘‘Maybe that’s what I need,’’ she cawed suddenly. ‘‘A pulpit that I take from reading to reading with me.’’
Williams is wiry and tanned, her hands and face biblically wrinkled. She is 71. Years ago, she lost her eyeglasses before a university appearance and had to wear prescription sunglasses at the lectern; appreciating, perhaps, the remoteness they facilitate, she has worn them ever since at all hours of the day and night. Not unlike that church pew in her living room, the sunglasses seem like an act of disregard for everyday comfort, an eccentricity that makes everyone else uneasy but Williams more secure.
It was just after dawn, but already the air was stifling. We reached a summit, and Williams drank from her dogs’ scratched and dented water bottle. Fat black ants swarmed into a crevice near our feet. Atop a nearby hill stood a trio of saguaros, the bottoms of their trunks black from some recent fire or decades-ago disease. Miles away, a single impossible thunderhead dropped rain in curtains over the Sonoran Desert. Nothing we could see cared about us.
To call her 50-year career that of a writer’s writer does not go far enough. Her three story collections and four darkly funny novels are mostly overlooked by readers but so beloved by generations of fiction masters that she might be the writer’s writer’s writer. ‘‘She did the important work of taking the tight, minimal Carveresque story and showing that you could retrofit it with comedy,’’ George Saunders told me, ‘‘that particularly American brand of funny that is made of pain.’’
The typical Williams protagonist is a wayward girl or young woman whose bad decisions, or bad attitude, or both, make her difficult to admire: She drives away while her husband is paying for gas, or ransacks a houseguest’s room to read her journal. In Williams’s precise, unsparing, surprising prose, her characters reach for the sublime but often fall miserably to earth: ‘‘Sam and Elizabeth met as people usually meet. Suddenly, there was a deceptive light in the darkness. A light that blackly reminded the lonely of the darkness.’’ She has a gift for sentences whose unsettling turns — ‘‘While she was thinking of something perfectly balanced and amusing to say, the baby was born’’ — force readers to grapple, just as her characters grapple, with the way life will do what it wants with you. Other writers I spoke to about Williams’s work expressed a sense of awe at the grandeur underlying her stories of weirdos and misfits. ‘‘She’s a visionary,’’ Karen Russell told me, ‘‘and she resizes people against a cosmic backdrop.’’
This month, Knopf will publish ‘‘The Visiting Privilege,’’ a collection of 46 stories that cements Williams’s position not merely as one of the great writers of her generation, but as our pre-eminent bard of humanity’s insignificance. The collection’s epigraph is a verse from 1 Corinthians: ‘‘We shall all be changed, in a moment, in the twinkling of an eye.’’ When Don DeLillo called to talk about Williams, he quoted that verse back to me. Then he said: ‘‘This is the definition of the classic American short story. And this is what Joy writes so beautifully.’’
When Williams was a child, her father was a minister at a Congregational church in Portland, Me. ‘‘He gave a beautiful sermon,’’ she said as we hiked through Arizona’s Santa Catalina foothills on trails she walks every morning. I asked if she had ever considered being a preacher like her father: Her stories often reveal themselves as parables, and her writing on the environment is equal parts fire, brimstone and eulogy. ‘‘Oh, no, I’m too shy,’’ she said, before lapsing into a companionable silence, the only sound her Chuck Taylors’ crunch on the trailbed. ‘‘Maybe that’s what I need,’’ she cawed suddenly. ‘‘A pulpit that I take from reading to reading with me.’’Williams is wiry and tanned, her hands and face biblically wrinkled. She is 71. Years ago, she lost her eyeglasses before a university appearance and had to wear prescription sunglasses at the lectern; appreciating, perhaps, the remoteness they facilitate, she has worn them ever since at all hours of the day and night. Not unlike that church pew in her living room, the sunglasses seem like an act of disregard for everyday comfort, an eccentricity that makes everyone else uneasy but Williams more secure.
It was just after dawn, but already the air was stifling. We reached a summit, and Williams drank from her dogs’ scratched and dented water bottle. Fat black ants swarmed into a crevice near our feet. Atop a nearby hill stood a trio of saguaros, the bottoms of their trunks black from some recent fire or decades-ago disease. Miles away, a single impossible thunderhead dropped rain in curtains over the Sonoran Desert. Nothing we could see cared about us.
To call her 50-year career that of a writer’s writer does not go far enough. Her three story collections and four darkly funny novels are mostly overlooked by readers but so beloved by generations of fiction masters that she might be the writer’s writer’s writer. ‘‘She did the important work of taking the tight, minimal Carveresque story and showing that you could retrofit it with comedy,’’ George Saunders told me, ‘‘that particularly American brand of funny that is made of pain.’’
The typical Williams protagonist is a wayward girl or young woman whose bad decisions, or bad attitude, or both, make her difficult to admire: She drives away while her husband is paying for gas, or ransacks a houseguest’s room to read her journal. In Williams’s precise, unsparing, surprising prose, her characters reach for the sublime but often fall miserably to earth: ‘‘Sam and Elizabeth met as people usually meet. Suddenly, there was a deceptive light in the darkness. A light that blackly reminded the lonely of the darkness.’’ She has a gift for sentences whose unsettling turns — ‘‘While she was thinking of something perfectly balanced and amusing to say, the baby was born’’ — force readers to grapple, just as her characters grapple, with the way life will do what it wants with you. Other writers I spoke to about Williams’s work expressed a sense of awe at the grandeur underlying her stories of weirdos and misfits. ‘‘She’s a visionary,’’ Karen Russell told me, ‘‘and she resizes people against a cosmic backdrop.’’
This month, Knopf will publish ‘‘The Visiting Privilege,’’ a collection of 46 stories that cements Williams’s position not merely as one of the great writers of her generation, but as our pre-eminent bard of humanity’s insignificance. The collection’s epigraph is a verse from 1 Corinthians: ‘‘We shall all be changed, in a moment, in the twinkling of an eye.’’ When Don DeLillo called to talk about Williams, he quoted that verse back to me. Then he said: ‘‘This is the definition of the classic American short story. And this is what Joy writes so beautifully.’’
by Dan Kois, NY Times Magazine | Read more:
Image: Raymond Meeks
