Over at the LBC

New Millions contributor Noah, who recently wrote a review of Richard Ford’s The Lay of the Land and helped answer a question (see the comments) about where to start when reading Ford’s books, managed to get a question in at yesterday’s Washington Post online chat with Ford. The question elicited a fairly long response from Ford, one that name drops a pair of his more well-know contemporaries. I’m quite certain that Noah is from Brooklyn but for some reason, the Post indicated his question was coming from Queens:Queens, NY: At a Barnes and Noble reading in NYC, you said, almost inaudibly because someone was mad to ask another question of you, that one of your personal favorite pieces of your own was “Communist”, the last story in Rock Springs. Can you talk just a little about that story, what it means to you? Do you ever feel that Bascombe-mania overpowers your other work, like the dog that is most aggressive in pursuing the owner’s attentions?Richard Ford: I don’t feel like these Bascombe books overpower my other work, because they are so different from other work that I have done, and I actually value them all pretty much equally. I probably couldn’t write a book or a story without thinking at the time, This is the best thing I could possibly do.”Communist” I feel a lot of affection for, for several different reasons. One is its origin: that my friend Tom McGuane once asked me while we were hunting if I had ever written a hunting story. I told him I had never written a hunting story because I didn’t like to read them. And he said, If I would write a hunting story, he knew some guy that was doing an anthology that would probably publish it. And so I wrote a hunting story. And from that innocent little inception came a story that was much more than a hunting story. I sort of like the humbleness of the origin. And I liked the story because it let me describe something, which is something I never do, it let me describe something I specifically experienced rather than just made up, which is an enormous number of geese taking flight, which I found was a very stirring experience both to have and to write. Two other things: I was moved by the opportunity to write the final conversation at the end of the story between the narrator and his mother, which I thought was quite an intimate relationship but that maintains the proprieties of parent and child. Finally, when I wrote the story, which was in 1983 in Mississippi, far from Montana, where the story is set, I wrote the story to an end which didn’t feel like the right end although it felt like an end. And I showed the story to my friend Joyce Carol Oates, and she gave me the best advice any other writer has ever given me. She said, Richard, you need to write more on this story. Write more words. And I had to figure out what more words to write.