Biography
Stewart O'Nan grew up in Pittsburgh, Pennsylvania, addicted to cartoons, horror comics, Tarzan, science fiction, movies, TV, and garage punk. He studied aerospace engineering at Boston University, where he developed more rarified tastes (Camus, Coltrane, and the Beats), along with a lifelong obsession with the Boston Red Sox. After graduation, he worked as a test engineer for Grumman Aerospace in Long Island, devoting every spare moment he could find to writing. Then, with the encouragement of his wife, he enrolled in Cornell University to pursue a master's degree.
By the time O'Nan had finished graduate school, a few of his short stories had begun to attract some attention. He moved his family west and taught at the University of Central Oklahoma and the University of New Mexico. Then, in 1993, he hit pay dirt when his short story collection, In the Walled City, won the Drue Heinz Prize for Short Fiction. A year later, his first novel, Snow Angels, was awarded a Pirate's Alley William Faulkner Prize. Since then, he has gone on to forge a distinguished literary career. A self-described "fiction-writing machine," the multi-award-winning O'Nan averages a book a year. In 1996, Granta named him one of the Twenty Best Young American Novelists.
Although critics try to shoehorn his fiction into the horror genre, O'Nan's writing is far too complex and nuanced to permit such blatant categorization. True, his stories are suffused with trauma and tragedy, and his characters react unpredictably to the stress of terrible events; but the violence in O'Nan's fiction owes as much to Flannery O'Connor as to Stephen King -- two authors he acknowledges as important influences.
In addition to his novels, the prolific O'Nan has written a nonfiction account of the notorious 1944 Hartford Circus Fire. He is also co-author with fellow Bo-Sox fan Stephen King of Faithful, a chronicle of the team's legendary 2004 season.
Good to Know
In our exclusive interview, Stewart O'Nan shared some fun and fascinating facts about himself:
"Growing up, I delivered the Pittsburgh Post-Gazette to David McCullough's, Annie Dillard's and Nathaniel Philbrick's houses. The Philbricks tipped you a dime to put it in their screen door."
"The first novels I read with rapt fascination were Edgar Rice Burroughs's Tarzan series -- coverless, bought for a dime apiece at a Cub Scout rummage sale."
"Back in the early '80s, when I'd just begun to read seriously, I met Doris Lessing at the Kenmore Square Barnes & Noble before her very first game at Fenway Park. She seemed genuinely excited, and apprehensive, as if she might be asked to play."
"The library is still my favorite place in the world."
"I'd rather be reading than doing anything else, including writing."
"I'm an obsessive collector -- coins, books, records, baseball cards."
Feature Interview
In the spring of 2008, Stewart O'Nan took some time to talk with us about his favorite books, authors, and interests: What are your ten favorite books, and what makes them special to you?
How about thousand favorite books? Hundred? I've got lists and lists of books I love on my website, but for this, I'll limit myself to ten.
So Long, See You Tomorrow by William Maxwell. As mentioned above. A book I'd like everyone to read. Hey, don't say you haven't got the time -- it's only 135 pages! You could read it instead of watching that bad movie on Starz.
To the Lighthouse by Virginia Woolf. For her ability to inhabit her characters so fully and describe the inner life as it's felt in both quiet and passionate moments.
The Tales of Chekhov. His breadth is as inspiring as his depth. He understands that everyone has a story, whether it's comic, majestic or pathetic. Wonderful at confusion -- literal and moral.
The Beggar Maid by Alice Munro. Like Maxwell, she's brilliant at the complex obligations of love and family, the obligations between parents and children, and the passage of time.
The True Detective by Theodore Weesner. A neglected American classic. Weesner takes an empathetic approach to what could, in others' hands, be a sordid crime thriller, and delivers his characters' mostly overlooked lives. His first novel, The Car Thief, is another great novel.
Anna Karenina by Leo Tolstoy. Deft scene-setting, massive scope in every meaning of the word, and he always chooses the perfect POV character -- the one person with the most at stake in each scene. The two largest storylines twine and chime in sweet and then alarming harmonies.
The Easter Parade by Richard Yates. Yates writes so well about the dreams and disappointment of regular Americans. Here he's at his finest and most compressed. He moves time with summary but always sets his big scenes big, and for such a sad writer, he's horribly, brutally funny.
The Resurrection by John Gardner. His first novel, and far from his best or most accomplished. It's a mess, actually, but for some reason his descriptions of Batavia, NY, and his supporting cast (Viola is a real achievement) keep bringing me back to this dour small town again and again.
Salem's Lot by Stephen King. Dracula meets Peyton Place. So smart in the burgeoning, unstoppable logic of its plot, and so well-paced.
Something Wicked This Way Comes by Ray Bradbury. Another great small town novel by a writer whose stories inspired several generations of American writers, and should continue to forever. Special mention to Richard Matheson's Shock collections for their seminal weirdness; to James Salter's Light Years for his incredibly spare yet rich lines; to Shakespeare for knowing everybody from the beggars to the bishops; to Denis Johnson's Angels; to Ginsburg and Plath and Bukowski and Hunter Thompson and Charles Bowden and all the crazy, brave American poets.
What are some of your favorite films, and what makes them unforgettable to you?
Persona, L'Avventura, Night of the Living Dead, The Conversation, Blue Velvet, Full Metal Jacket, Fargo, Donnie Darko. Hard to say what this short list has in common. An appreciation for the strangeness of the soul and the world? There are so many more.
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
Punk, rock, solo weirdos (Syd Barrett, Jonathan Richman, Cat Power, Sufjan Stevens), English viol consorts, French bass viol suites, baroque, classical, romantic, blues, jazz, bop. I listen to whatever suits the mood of the piece I'm working on.
What are your favorite kinds of books to give--and get--as gifts?
Old used sci-fi and horror paperbacks with weird or groovy cover art. Pulp classics.
Do you have any special writing rituals? For example, what do you have to have on your desk when you're writing?
No rituals, but I always keep a signed Red Sox baseball on my desk. It used to be an '83 team ball with Yaz on the sweetspot, then a Pedro Martinez, a Jason Varitek, a Billy Mueller (Yankee killer!), a David Ortiz, a Jonathan Papelbon. Now, since I just got back from spring training, it's a fresh new 2007 World Series ball signed by World Series MVP Mike Lowell.
Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes?
I started writing in 1983. I was working as an engineer, and after work I'd come home and write stories in my basement. In 1986, I took a summer workshop with Russell Banks, and part of that was a one-on-one meeting where he'd critique your manuscript. We sat down in the shade of a tree, and before he said a word about my story, he asked if I was married. "Yeah," I said. "Do you have kids?" "Yeah," I said. "Don't quit your day job," he said. I was crushed, of course. I wanted him to say my story was brilliant and that he was excited to have discovered the next great American novelist. I don't recall what he said about the story, but at the end of the meeting (since he could see I was reeling) he said, "The ones who make it in this business are the ones who stick with it," and I grabbed onto that like a lifeline. I told myself I'd give it ten years. Seven years later, in 1993, Tobias Wolff chose my stories for the Drue Heinz Prize, and the University of Pittsburgh Press published them. Russell Banks was right. It was sound advice, especially for someone compulsive like me. For me, it wasn't about talent, but determination, and a lot of long days.
What tips or advice do you have for writers still looking to be discovered?
Read. Write a lot, revise a lot, and try to find two or three readers you can trust who'll read your stuff before it goes out. Revise some more and only then send it out. Try not to worry about the public side of writing. Your time at your desk -- your time with your characters -- is more important than anything else.