Dave Housley Talks Craft and Kraft with Hobart Lit Journal
The Other Ones author sits down with ASP's own Hannah Grieco (for Hobart) to discuss some of the food-based inspiration for his new novel
In a new interview with Hobart Literary Journal, Dave Housley breaks down the role of food in his new darkly comedic office novel The Other Ones. In a section of extended metaphor, Housley describes TOO as if it were a recipe, and in another section assigns a snack to each of the characters in the office. The interview is conducted by ASP's own Hannah Grieco. Read the full interview HERE. An excerpt follows:
Okay, tell us about your book!
It’s a novel about a group of people whose co-workers win the lottery. The book follows the people who do not win the lottery over the course of the next year as they shoot off in various (mostly bad) directions. It’s told in short chapters from seven different point of view, including a rather incompetent ghost of a man who jumps off the building in the first chapter and then comes back to haunt the lottery winners. I think it’s dark and also funny and nearly every thing that’s annoyed me over thirty some years of working in offices found its way in there as well. I was really happy that Matt Bell called it a “bighearted office comedy” because that’s really what I was going for.
If The Other Ones was a metaphoric recipe, what would the ingredients be?
I love chili, and one thing I love about it is the mix of flavors – you’ve got hot and also sweet, a base and some flavors kind of dancing around at the edges, all of these ingredients eventually combining to make one cohesive thing. I think all of those things could generally be said about this book: it’s a little dark and hopefully a little funny. It's character driven literary fiction but also very much driven by plot, and part of that plot involves two people who buy guns. It’s realistic but there’s a fair amount of mystery and one of the characters is a ghost. So yeah, I think this book is one of those chilis where you run out of a few things and have had one too many chili-making beers to get back to the grocery store so you improvise.
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In “The Beginning, 1939” Rose Solari’s mastery of recitation is put to the music of her capricious mother and the frantic hopes of her father who wishes to leave “no long, tight pauses for her to fill.” I’ve written before about Rose’s use of swing and rhythmic motifs in her work, elements which are alive in this poem, but what is really mesmerizing to me about “1939” is the musical image toward the end which harbors no pretense of cramming lieder into language, but instead focuses on the very physical act of her mother playing the piano:
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