Fiction Fragments: Bracken MacLeod

Last week, I talked with Todd Sullivan about anime, writing YA fantasy, and cultural differences while living abroad. And this week, Girl Meets Monster welcomes Bracken MacLeod. I think I first met Bracken at StokerCon in Providence, but I’ve had the pleasure of bumping into him at other events and hope to eventually have time to just sit and talk one of these days. In the meantime, enjoy his fragment and interview.

2020-02-12 14.43.17aBracken MacLeod is the Bram Stoker and Shirley Jackson Award nominated author of the novels, Mountain Home, Come to Dust, Stranded, and Closing Costs, coming in 2021 from Houghton Mifflin Harcourt. He’s also published two collections of short fiction, 13 Views of the Suicide Woods and White Knight and Other Pawns. Before devoting himself to full time writing, he worked as a civil and criminal litigator, a university philosophy instructor, and a martial arts teacher. He lives outside of Boston with his wife and son, where he is at work on his next novel.

Three Questions

GMM: Welcome to Girl Meets Monster, Bracken. I’m so glad you could join me today. Thank you for taking time to stop by and talk about your writing. I enjoyed your fragment. There’s a lot going on in Harlow’s world, internally and externally. And, a boring train ride through New York City becomes an opportunity for you to highlight several aspects of the human condition, including: feelings of loneliness and isolation even though we are usually surrounded by people, the way our communication has changed over time, and the very serious subject of suicide. Can you tell me a little bit about what inspired this story? Or at the very least, this scene?

BM: Thank you. I am so glad you liked it. This is a selection from the beginning of a new novel I’m working on we’ll call Moral Panic (not my real title, but I’m going to be a little protective here of a turn of phrase I think is pretty boss). I wanted to introduce the character of Harlow in a way that depicts someone trying to get back on their feet emotionally after a significant trauma. But reminders of that ordeal intrude in her life periodically, threatening to drag her back down. In the case of this piece, she’s feeling surprise at her own disappointment in not winning an award, and is heading home, when the world around her stops and points out in stark detail exactly how painful things can get. The details of the piece are drawn from my own experience in several different ways, but specifically, and most obviously, being on a train delayed by a person who’d jumped. It’s one thing to hear the driver tell you something’s happened, and quite another to ride by slowly, watching workers spreading sawdust on the tracks to soak up blood. Despite not being a first responder, I’ve seen considerably more than my share of public tragedy. A lot of Harlow’s interiority here is my own.

GMM: Many writers struggle with the concept of imposter syndrome even after they’ve had their work published and had some success with their writing. As a writer who has been nominated for some prestigious awards within your genre, does that kind of recognition make it easier or more difficult to approach your craft? Personally, I suffer from a fear of success, because success often means there are greater expectations for your next effort, and that also means more work on your part. Has success in your writing been helpful or a hindrance?

BM: Being nominated for awards is nice, and with few exceptions, I wouldn’t turn one down that was given to me, but there is an odd feeling of competition with yourself that creeps into the aftermath of being recognized like that. It’s less about not winning (PRO-TIP: you don’t LOSE awards, because how can you lose something you’ve never had?), than it is about what I think of the quality of my work. Why did this book get nominated and not that one? What was it about the story that resounded with people so much, and can I do it again? Imposter syndrome never goes away, but it does lessen. Still, while I was writing Closing Costs (coming in early 2021 from Houghton Mifflin Harcourt), I had considerable anxiety about the book and whether it lived up to what people might expect from a “Bracken MacLeod Novel” (whatever THAT is—how arrogant to think there even is such a thing). You have to sublimate those feelings and just go on. I know how to do what I do, and ideally, I’ve learned lessons about what lands right and what doesn’t from prior work. A little bit of anxiousness is good, though; it keeps you working hard.

In all honesty, I think I’d worry a little about someone who says they have no imposter syndrome. It sounds to me like admitting to Dunning-Krueger.

GMM: The overall feeling of your fragment is one of either despair or a sense of not feeling connected to the world around you. Disorientation. Genre wise, this feels like suspense or horror, but your use of language and detailed observation of what’s happening around Harlow gives your writing a literary feel as well. Where do you fall on the spectrum of the literary vs. genre fiction debate? How do you classify your own writing? Has your work ever been criticized for being too literary or too genre driven?

BM: I feel like my work firmly falls in the categories of horror and, more often, thriller, but I strive for literary style. My temptation is to say “literary quality” here, but I think there’s tremendous quality in stripped down, no frills prose as well as “literary.” I don’t like this rivalry we have with each other over genre v. Literary Fiction. Lit Fic is a genre with its own reader expectations and tropes, and there’s no reason why good genre fiction can’t also be literary. Read Paul Tremblay and Priya Sharma and John Langan and tell me those aren’t amazing literary writers working in genre. Colson Whitehead and Victor LaValle are two other examples of wonderful writers who I think of as literary first, but who clearly enjoy writing genre and are great at it. Anyway, I’d like to think of myself as a “slipstream” thriller writer falling somewhere in between traditional thriller/horror writing and Lit Fic.

I think I’ve had more pushback with crossing horror and thriller lines than literary. People have told me while they like this story of mine, it isn’t horror, as if there’s a bright line distinction with no overlap. But then, I tend to prefer what I call “secular horror” over supernatural most of the time. If given the choice between something like IT and McCarthy’s Blood Meridian, I’ll more often than not pick the more human monsters.

GMM: Secular horror. I like the sound of that. I think I know what you mean, but could you explain it a bit for a layperson?

BM: “Secular Horror” is a term I coined for my work. It’s kind of like the opposite of supernatural horror, PLUS. The plus is a matter of representation. While I try to do my best writing characters of all backgrounds and beliefs, my protagonists are always atheists and hard skeptics. Part of it is to make a point, perhaps, but a larger part is to give readers in that audience someone to identify with. So, when I say I write secular horror, it usually means that I’m writing non-supernatural work (though I have done supernatural in both novels and short stories) with a point of view coming from a position of skepticism and incredulity. Jack Ketchum, I’d say, wrote that also. Scooby Doo falls into the category as well, ALL the ghosts and spirits in those shows were normal people performing fraudulent supernaturalism! Scooby Doo is secular horror for children.

Fragment, by Bracken MacLeod

The operator’s crackling voice came on the public address speaker and said, “I’m sorry. We’re experiencing a delay.” The train operator sounded tired. It was late, but there seemed to be more weighing on her than the hour. “There’s a… a medical… a passenger just jumped in front of a train at the stop ahead of us. We’re been held here until cleared to resume. I’m very sorry.” The train car was silent. Those kinds of announcements used to be made by euphemism—there was a “police investigation” or “a passenger seeking medical attention.” These days, if you were on the affected train, they told you how it was. Matter of fact. In a sad kind of way, the passengers took it better. While any delay was frustrating, a kind of hushed patience came with the news of someone’s death on the tracks. People from elsewhere could believe all they wanted that New Yorkers were cold and aloof, but people in the city understood that tragedy outweighed inconvenience. They were the same kind of human beings as everyone else, whatever politicians had to say about “coastal elites.”

Harlow closed her eyes and visions of blood and chaos swirled in her alcohol-loosened thoughts. She realized she was better off with her eyes wide open. Perhaps all night. A couple at the other end of her car spoke to each other in hushed tones, leaning into one another. Other riders kept to themselves, typing on their phones or with wireless earbuds in their ears while they played Candy Crush. One woman quietly wiped tears from her eyes and stared straight ahead at her own reflection in the dark glass of the subway car window.

Harlow checked her phone. There were a couple of texts from people inviting her up to room parties, not realizing she’d left the con, and one from her mother asking whether she’d won. She closed her texts and opened Kindle instead. She tried to pick up her book where she’d left off, but the first paragraph seemed impervious to interpretation; she read it again and again, trying to discern meaning from the collection of words she knew had to make sense together but couldn’t force into clarity. She closed the app and instead opened Snapchat, using a filter to look at herself with cat ears and whiskers, then in grainy sepia, then as a biker complete with black five o’clock shadow and a skull-cap bandana. It was a stupid waste of time, and while she would’ve normally found it oddly narcissistic to stare at herself in digital costumes for a half an hour, it kept her from focusing on what had happened on the tracks ahead.

Sitting in a stationary subway car in a tunnel felt different than a delay at the station. Looking through the windows at people on the platform, moving from the gates to the exits, arriving and seeing a train waiting, was of a separate character than sitting in a car with black windows with only one’s own reflection looking back. A car one couldn’t easily exit and return to the world as it was. This felt like being lost. The tunnels weren’t made for lingering; they were intended to be sped through, viewed at a blur. This was a place of motion, not hesitation. And sitting still felt like being lost in time. Like being dead.

Like the person ahead of them on the tracks.

After nearly forty minutes, the train operator came back on the P.A. and told them they were clear to move; however, theirs would be an express train through the next stop. Buses would be waiting at the following station to shuttle riders back. A couple of people on the car softly groaned, but no one made more out of it than that exhaled utterance.

The car began to move again, and the riders slipped from their pocket of stilled time into the continuity of life in the city.

As they emerged from the tunnel and passed through the station, Harlow tried to keep her eyes fixed on her smart phone, but she’d been through all the filters in her app, checked her e-mail and texts. There was nothing unseen to draw her eyes from the bright hardhats of the workmen visible through the window across from her, and she looked up. Two of the them spread what looked like sawdust onto a darkened patch of track on the opposite side of the center divider, separating inbound and outbound trains, while a third looked on. He stood stoically, having already done his job, or waiting to take his turn, so no one would ever know death had come to that small space in their underground world. But he knew it had. His co-workers knew. And so did Harlow. He looked up, eyes meeting hers and in that moment she thought of Gentileschi’s Judith slaying Holofernes—figures standing in the dark, captured in a golden ratio of elemental violence too far complete to be stilled, yet frozen. She hovered in that instant unable to look away, confronted by the workman’s face, his impassivity, but seeing deeper in his eyes a sense that blood was not unfamiliar, and despondence infected him. Had changed him. She understood, and felt pass between them a kind of grieving kinship. Harlow blinked and when she opened her eyes the man had looked away and she couldn’t be certain he’d ever looked at her. The train continued to move and another wave of bleary drunkenness washed over her, bringing Harlow fully back into her body.

A teary woman across from her stifled a sob. Harlow turned her head and tried to catch her gaze, and convey solace to her. She tried to be the presence in between violence and death for this other human being who was about to be overtaken. The way she did. The woman gave her a weak half-smile and turned her eyes toward her hands in her lap.

Harlow leaned back in her seat and for the next two stops, stared at the advertisement next to the door. A size zero woman with a heavy-lidded expression stood stiffly in a yellow bikini next to the legend,

ARE YOU
BEACH BODY
READY?

The scars over Harlow’s ribs itched.

The operator announced her stop and she snapped out of her trance. Harlow didn’t recollect walking home, but waking up the next morning in her bed, had found her way.

Do you have a fragment you’d love to share here at Girl Meets Monster? If so, send it my way at: chellane@gmail.com.

Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.

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