David Vann — Live Q and A — March 23rd

Photo by permission of Ulf Andersen © ulfandersen.photoshelter.com


David Vann, the prize-winning author of Legend of a Suicide and Caribou Island, will be joining us for our next Question and Answer session on

Wednesday 23rd March at 10 p.m. UK time.


David Vann’s short stories have been published in Atlantic Monthly, Writer’s Digest, and The Sunday Times, and his work has twice been nominated for a Pushcart Prize.  In 2010, his story ‘It’s Not Yours’ was shortlisted for the Sunday Times EFG Private Bank Short Story Award.


Vann has taught Creative Writing at Stanford University, Cornell University, and San Francisco State University. He is currently an Associate Professor at the University of San Francisco and Visiting Professor at Victoria University of Wellington, in New Zealand, from where he will be joining us.


What the reviewers say

Transfixing and unflinching … full of finely realized moments … Comparison with Cormac McCarthy is fully justified.”—Times Literary Supplement (UK)

David Vann’s extraordinary and inventive set of fictional variations on his father’s death will surely become an American classic.” — The Times Literary Supplement, Books of the Year 2009

His legend is at once the truest memoir and the purest fiction…Nothing quite like this book has been written before.” — The London Observer


Read the following stories online:




Listen to David Vann read ‘It’s Not Yours’


Times in other locations are as follows:

23rd March

2 p.m.  Alaska Time
3 p.m. Pacific Time
4 p.m. Mountain Time
5 p.m. Central Time
6 p.m. Eastern Time
7 p.m. Atlantic Time

24th March

Midnight South Africa
6 a.m. AWST
8 a.m. AEST
8:30 a.m. ACDT
9 a.m. AEDT

11 a.m. New Zealand


All registered members are invited to take part in the Live Q&A session.

Those unable to attend, are welcome to submit questions in advance, by contacting the administrator at thresholds@chi.ac.uk, or by using the comment boxes below the post.

To participate in this event, you need to be logged in.


Tips and Hints for helping the session to run smoothly:

1)   Please submit individual questions using the Comments Box, below.

2)  Use your REFRESH button occasionally throughout the session.


About the author

Thresholds Admin has written 621 articles for THRESHOLDS

85 Responses to "David Vann — Live Q and A — March 23rd"

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  • Loree Westron 10:01 PM 23/3/2011

    Hello Everyone. I think we’re ready to get things underway…

    David, I’d like to say how pleased we are to have you with us, tonight. I know you’re very busy at the moment, with the recent launch of Caribou Island and what seems to have been a global book tour, so we feel very privileged to have you here with us at THRESHOLDS.

  • David Vann 10:01 PM 23/3/2011

    Thanks, Loree. I’m looking forward to this.

  • Loree Westron 10:02 PM 23/3/2011

    Questions are mounting up, but before we get started, I’d like to remind everyone out there in Cyberspace, watching or taking part in this session, that you’ll need to hit your REFRESH button every now and then to make sure you don’t miss anything. Formalities over with, let’s get started… Here’s your first question, David.

  • erinna mettler 10:03 PM 23/3/2011

    Do you consider Legend of a Suicide a novel or a short story collection. It is marketed as a novel but is this the best way to think of it in terms of reader expectation and was it the decision of the publisher rather than the idea you had of it when you set out to write it? I really don’t see the problem with a collection, interlinked stories seem to be all the rage but publishers are nervous of them — maybe we need a new category!

  • David Vann 10:04 PM 23/3/2011

    I wrote Sukkwan Island to stand on its own, as a novel (which is how it’s published in French, German, Spanish, Italian, etc.)..;.

  • David Vann 10:05 PM 23/3/2011

    But then I saw it could fit with the other stories. I was reading Chaucer’s Legend of Good Women, and wrote the story “A Legend of Good Men,” using the structure of a series of portraits, from the hagiographic tradition. Then I saw this could be applied to the collection overall…

  • David Vann 10:06 PM 23/3/2011

    So the title, Legend of a Suicide, means a series of portraits of a suicide, which fits the fact that none of us in the family could agree on one true story. But the result is not really a story collection or a novel, so I liked the idea of just not calling it anything…

  • David Vann 10:07 PM 23/3/2011

    The Things They Carried and other books are like that, and I think ‘linked story collection’ works as a term, but it probably sounds like a nightmare to a sales team. I’m very happy with how Penguin published it, and I think how they presented it is fair.

  • David Vann 10:09 PM 23/3/2011

    I guess I should add that I think of Legend personally as a short novel framed by five stories, which is kind of a mouthful.

  • Will Bowerman 10:10 PM 23/3/2011

    Hi David, I loved reading your story ‘Rhoda’ and wanted to ask you about it. It seems to me a story about sight in many respects. Characters have varying degrees of clarity in their ability to see those around them. Not just each other physically through visual imagery, but in terms of reflection, emotion, looking ahead to their individual and collective futures…They don’t seem to be able to see themselves with as much clarity either. Rhoda’s physical impairment allows her to see herself and how others see her in a more specific way than the others. For me, this is how I read the story and it enhanced my enjoyment of it. My question is, was Rhoda’s physical impairment a starting point for you symbolically, or was the narrator and his voice a starting point — an almost naive observer of those around him? Thank you…

  • David Vann 10:12 PM 23/3/2011

    Great question, Will, and thanks for the careful read. Her impairment was the starting point. I was sitting in a cemetary on the hill at Cornell, in upstate New York, and a woman came by with a young daughter who had an eye like that, and it seemed perfect for how the boy can’t fully see into adulthood or sexuality or the rel’p between his father and stepmother or who either of them are.

  • David Vann 10:13 PM 23/3/2011

    I also thought that minimalism was the right form for limited sight into sexuality.

  • David Vann 10:13 PM 23/3/2011

    Each of the stories is in a different style, and Rhoda is the minimalist story.

  • Loree Westron 10:15 PM 23/3/2011

    I’m coming. Just got back up online…

  • KHeath 10:15 PM 23/3/2011

    Having read Legend of a suicide, I was intrigued by the amount of biographical content. I too use a lot of my personal experience in my writing and I was wondering how do you manage to balance the autobiographical content of your stories with the ‘more fictional’ aspects? How do you know where to stop?

  • David Vann 10:18 PM 23/3/2011

    I use true stories to power the fiction emotionally and psychologically, but I rely on the writing to surprise and head off in its own direction. I believe writing is mostly unconscious and out of control that way, and I’m amazed by how coherent these unconscious patterns can be…

  • David Vann 10:19 PM 23/3/2011

    I think it’s important to eliminate the incidental from true material. I think short stories are paranoid worlds in which everything means. So I try to move the story to a different location or time or different people to give it more room to take off on its own.

  • David Vann 10:19 PM 23/3/2011

    I think writing does something real in transforming the content of our lives, and that it can’t be faked. I don’t think we really pick our material in that way.

  • sean2212 10:20 PM 23/3/2011

    Hi David,

    I’m a big fan of your work. I was amazed at how long Legend took — both in terms of writing and then finding a publisher. It must have been a very frustrating and difficult process. How did you manage to keep the faith during all that time?


  • David Vann 10:21 PM 23/3/2011

    Ha. I didn’t keep the faith. I was a big baby and didn’t write for five and a half years. I really showed the world, and the world suffered mightily from missing those years of my writing…

  • David Vann 10:22 PM 23/3/2011

    I realized, in retrospect, that I should have been more persistent in sending out the manuscript. I just believed what everyone said in the rejections, and I should have maybe not believed. I recommend sending out to contests. That was how it finally got published. And I have to thank AWP and UMass Press for that.

  • David Vann 10:22 PM 23/3/2011

    I also went to sea and started a new career as a captain, which worked out really well, ha.

  • Michele 10:23 PM 23/3/2011

    Hi David, I hope this comment appears in an orderly place, and doesn’t come out like an interruption! I wanted to ask about your writing process, are you a methodical or an impulsive writer? Are you good at sticking to a “routine” for working?

  • David Vann 10:24 PM 23/3/2011

    I now write every morning for 2 or 3 hours, 7 days a week, and the writing is all about momentum for me. Those unconscious patterns only happen if there’s no interruption. It’s important to not miss a single day until I have a first draft. Then I can relax a bit in revision…

  • David Vann 10:25 PM 23/3/2011

    The impulsive part is that I never know what I’m going to write about. I had plans this last summer to write a novel set in Anglo-Saxon England, then one morning I just started writing a novel set in California in 1985, and that’s what I worked on every day for the next five and a half months until I had a first draft…

  • David Vann 10:26 PM 23/3/2011

    I should also say that my final drafts are almost identical to my first drafts. Ichthyology had one paragraph cut and one added. Caribou Island had only a few paragraphs of background info added, and line edits. I was always told writing is mostly revision, but for me, the work lives or dies in the first draft.

  • David Vann 10:27 PM 23/3/2011

    And that’s why momentum is so important, for cohesion, so it all feels of one piece.

  • Rik Wortman 10:27 PM 23/3/2011

    We were actually discussing ‘Legend of a Suicide’ in our Lecture/Seminar today, and conversation got around to the atmosphere you create when describing the dead body in a bag, and the fathers reaction. Whilst many writers try to set up such an intense scene, they usually fall short, and end up making it incredibly mellow-dramatic, however they way you’ve done it left me feeling both satisfied (because the scene is so perfect) yet nauseated (because the scene is so perfect!) at the same time. What’s your secret to not selling such an utterly intense scene short by over-dramatising it? Thanks!

  • David Vann 10:28 PM 23/3/2011

    Great question, Rik. I just had no idea that scene was coming. I was horrified after I wrote it…

  • David Vann 10:30 PM 23/3/2011

    The boy’s suicide was something I didn’t see coming until halfway through the sentence, so I had no idea what would follow in the rest of the short novel. I hadn’t planned on writing from the father’s pov. So everything came out darker and far more odd than I had ever imagined. That was the unconscious taking over. A kind of revenge story, and odd dark humor, etc.

  • David Vann 10:31 PM 23/3/2011

    I think the melodramatic is probably planned, based on an idea. That would be my guess.

  • David Vann 10:31 PM 23/3/2011

    As I’ve mentioned in interviews, I think an idea is the worst thing that can happen to a writer. Ideas constrain and limit and ultimately suck.

  • dora 10:32 PM 23/3/2011

    Thank you for taking the time for being with us! I am stunned by your writing. It so visceral and real. I can see the characters in front of me and I can only hope I can achieve such a feat. I read that your short stories languished for over 12 years before winning the Grace Paley award. Did you keep revising them in the interim or worked on other projects?

  • David Vann 10:33 PM 23/3/2011

    Thanks, Dora. I started writing Caribou Island when I finished Legend, but I got stuck at 48 pages and couldn’t see the longer arc or whose story it was. That was 14 years ago. Then 2 years ago, I was walking around on the frozen lake in Alaska where the novel is set and could suddenly see Irene’s winter vision (which occurs late, on something like page 253). And I could see it was Irene’s story. So I hopped on the five and a half month momentum train and had my first draft of Caribou.
    I didn’t revise any of the stories in Legend after I finished. They just sat and waited.

  • KHeath 10:34 PM 23/3/2011

    Having read Legend of a suicide, I was intrigued by the amount of biographical content. I too use a lot of my personal experience in my writing and I was wondering how do you manage to balance the autobiographical content of your stories with the ‘more fictional’ aspects? How do you know where to stop?

  • David Vann 10:35 PM 23/3/2011

    I’ve already had the bio question, actually, responses above.

  • Katherine Orr 10:36 PM 23/3/2011

    Hi David — I enjoyed your recent interview for The White Review, and was interested that you said writing is a completely unconscious process for you … I know you also teach creative writing. Given that there’s a danger that CW students can become far too conscious of their process and self-conscious about their writing, do you have any words of wisdom for avoiding that?


  • David Vann 10:38 PM 23/3/2011

    Great question, Katherine, and tough to answer, but I’ll try…

  • David Vann 10:38 PM 23/3/2011

    To begin with, in my classes I set up a bunch of rules for how fiction works, going through examples, then give a bunch of examples that break the rules…

  • David Vann 10:39 PM 23/3/2011

    And I try to get students to think of their writing over a longer span, not for the semester. And I try to make the point that finding the right material, the story you really need to be telling, is important. Many students are afraid of offending family, etc., and I let them know that family has to be sacrificed…

  • David Vann 10:40 PM 23/3/2011

    And I also do exercises that break students out of their habits, such as writing without the letter e, using verbs only in the second half of sentences, using all nouns, adjs, and verbs outside their usual part of speech, etc…

  • David Vann 10:42 PM 23/3/2011

    But finally, you can’t make a student write something that matters, and you can’t give them talent, and you aren’t really their teacher anyway. Only great works that they love and ingest can help them cross over into something good.

  • dora 10:42 PM 23/3/2011

    If you hadn’t found a publisher for Legend, would you have consider self-publishing it? It’s a question I ask myself too. Thanks!

  • David Vann 10:44 PM 23/3/2011

    I wouldn’t consider self-publishing. No one views it as real (universities or the publishing world). There are exceptions, such as Fup, that go on and have commercial lives, but those are really exceptions. Better to wait, I think, and enter contests.

  • yjoyce 10:45 PM 23/3/2011

    Hi David,
    My father killed himself and for some time afterward I was encourage not to mention the ‘skeleton in the closet’. My father suffered with schizophrenia, an illness that often involves suicide. I was frustrated by the idea that had my father died of cancer or a car accident then I could talk about it, but that he killed himself as a result of schizophrenia, I mustn’t. Was your intention in writing Legend of a Suicide to challenge the collective shame and silence of such events? What did you want to achieve in writing the book?

  • David Vann 10:45 PM 23/3/2011

    I should add, on Katherine’s question, that I do think we can teach a lot about reading, and I use a background in linguistics, primarily, for the tools to talk about style.

  • David Vann 10:46 PM 23/3/2011

    Thanks, Yvonne. There is so much shame around suicide. For 3 years, I told everyone my father died of cancer…

  • David Vann 10:48 PM 23/3/2011

    And people have told me for a long time to quit writing about my dad, or to quit writing about suicide (there are other family suicides in the background of Caribou Island). So I personally think they should all fuck off. It was the most important event in my life, and I’m going to talk about it, and there’ll probably always be some bit of it in the background, and if I want to write 16 books about it, I can. That said, my next novel is in California and doesn’t have suicide and is about my mom’s family. But I don’t think writers get to pick their material, and I don’t think writers should ever have to apologize, and I think anyone should feel free to discuss suicide or mental illness, and I think discussion only helps.

  • Hayley Singer 10:50 PM 23/3/2011

    Hi David,

    I’m interested in the re-use of character names through your short fiction and in Caribou Island. Here I am thinking about Gary and Rhoda.

    This is a lovely device as it creates a sense of echo and reprise, but it also made me feel that there is an element of autobiography in your work. Is that correct, and if not, what are your motives for this?

    Thanks, Hayley.

  • David Vann 10:51 PM 23/3/2011

    Good question, Hayley. I used the real names as place markers for the true stories that I’m mining. Since the murder-suicide of my stepmother’s parents is in the background of Caribou Island, and she was named Rhoda in the stories, I kept the name, even though she’s a different character here…

  • David Vann 10:53 PM 23/3/2011

    My real stepmother is neither of the Rhodas but is the inspiration for them, and they change shape to fit the stories, just as the real events have transformed into something else. What I’m interested in is how the unconscious reshapes and redeems the ugliest stories from my real life, and I think it’s interesting to know the real stories in the background so that you, as readers, can see the transformations that I’ve seen as the writer. What the fiction does is real and amazing, I think.

  • Hayley Singer 10:54 PM 23/3/2011

    Transmission is a gorgeous story. I see it as being, perhaps in contrast to Rhoda, a story about the gaining of sight, or rather insight. The framing of this story, through various windows, is interesting and makes me wonder if narrative framing something that you focus on when writing, or would you say this is more part of the unconscious patterning that you mentioned earlier?

    Thanks, Hayley.

  • David Vann 10:55 PM 23/3/2011

    Those two stories are similar in that the protagonist is trying to understand and see another person clearly and ends up not fully able to do that but catches glimpses…

  • David Vann 10:56 PM 23/3/2011

    What’s a bit different in Transmission is that it tends a tad toward metafiction, with the overwriting of the myth of how the grandfather first sees the grandmother, so we’re aware of the attempt to construct stories that make sense…

  • David Vann 10:57 PM 23/3/2011

    When I’m writing, though, I don’t focus on craft or structure or framing, etc. I think we study style, etc. and then that increases our competence and hopefully comes out in our performance when we write, but I don’t think it’s a generative point of focus while writing.

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