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“Irresistibly taut,” “taut and emotionally charged,” or even “bow-string taut and visceral” are just some examples of how the word “taut” is commonly used in book marketing. This descriptor has become overused and may even be disliked by authors like Kathryn Scanlan. Ironically, Scanlan herself may be the perfect embodiment of this term.

The writer is known for producing small books that blur the line between fiction and nonfiction. Her debut, Aug 9 – Fog, won awards and was inspired by a diary she obtained at an auction. She took apart and reconstructed the diary entries. Her newest book, Kick the Latch, is based on real conversations with an ex-horse trainer named Sonia from Iowa. It received the prestigious Gordon Burn prize this year. The book consists of short vignettes, some only 15 words long, that delve into a secluded and often violent subculture. Like Aug 9 – Fog, Scanlan edited and arranged the transcripts, adding some artistic liberties to depict a mostly true story.

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According to Scanlan, Barbara Epler of New Directions in the US does not review agents’ letters and instead reads manuscripts without prior knowledge. Speaking from her home in LA on the night before her victory is announced, Scanlan praises the fact that Epler initially believed the book to be a memoir, but then revisited the pitch. The book’s ambiguity and ability to keep readers guessing is something Scanlan personally enjoys and finds thrilling.

In 1991, Gordon Burn wrote a book called Alma Cogan, in which he speculates about the life of the singer if she had lived past the age of 34. This book has given Scanlan a similar feeling. She has been studying his work since she was nominated for the prize and is currently reading Somebody’s Husband, Somebody’s Son at the time of our conversation.

Scanlan grew up near a small forest area in eastern Iowa, where she was surrounded by a variety of animals, both domestic and wild. These animals have been a constant presence in her life and work. Her book, The Dominant Animal, examines the relationship between humans and animals. According to the Guardian, the book showcases carefully crafted pieces of fiction, rather than flashes or experiments. Both of Scanlan’s parents were passionate about horses, and it was her mother who introduced her to Sonia. They first met at a flea market in 2018, when Scanlan was visiting from Los Angeles. They bonded over their shared love and appreciation for animals. Sonia’s lengthy conversation, lasting about four hours, served as the initial draft for the book. During the recent lockdown, extra phone calls with Sonia helped Scanlan make revisions and ultimately finish Kick the Latch. She explains, “My conversations with Sonia mostly involved me listening to her. I didn’t ask her many questions.”

Sonia and Scanlan have distinct communication styles – Sonia is more talkative while Scanlan is concise in both speech and writing. But they both share a distaste for exaggeration. According to Scanlan, Sonia does not feel the need to explain things in depth, instead assuming that the listener is knowledgeable or a part of the subject matter. This is a quality that Scanlan appreciates not only in Sonia, but in books as well. She enjoys being spoken to in a way that doesn’t underestimate her understanding and finds the allure and intrigue in things that are not fully understood.

Kick the Latch leans all the way into this tension. Written in staccato sentences and completely lacking in sentiment, readers get what they are given and must fill in the gaps for themselves. Scanlan’s prose is more powerful for it, as is the case when Sonia recounts an instance of rape: “The guy sobered up, I knew him, I seen him every day, I knew exactly who it was – it was bad, but anyway, I survived. I cut my hair real short after that.”

Scanlan owes much to her time at the University of Iowa, where she studied English and art as an undergraduate. Here, she was introduced to work by Raymond Carver, Flannery O’Connor and Jo Ann Beard. An adviser pointed her towards Diane Williams, another master of concise American fiction, whom Scanlan now considers a mentor. And her study of painting was equally formative. “[Collage, appropriation and repurposing] is a very old practice in visual art,” says Scanlan. “In writing, those seem like very natural methods to me. That’s probably informed by the fact that I have this training and understanding of different modes of visual work. It shapes how I think about my books and stories.”

In her future works, Scanlan will continue to use existing materials and personal experiences. Her upcoming short story collection will focus on themes of children and mothers, while her new novel will revolve around the act of driving. I find this description to be tightly-wound and captivating until the end.

Source: theguardian.com