Ladies and gentlemen, the time has come to present our March 2012 web exclusive: “Outlander” by Ravi Mangla.
We love “Outlander” for its quiet mystery, incisive language, and slow-working charm. It’s a mere slip of a story, but one that lingers, enchants, stays. So, go on—read “Outlander” on the ASF website, and check out our interview with the author, below.
1. Tell us about the genesis of “Outlander.” Where did the idea for the story come from and what kind of evolution did it go through to get to us?
It started as a few sentences on a bar napkin and slowly evolved into a fully formed story over the next several days. The story wasn’t nearly as problematic as some (for which I am grateful), so it didn’t take too many drafts to arrive at a finished product. I wish I had a more interesting origin story to share (maybe something with a radioactive spider), but mostly I just pieced it together as I went along.
2. In its simplest outline, “Outlander” is about a short-lived connection between two people, and the (literal) traces that the relationship leaves behind. One of the things that crossed my mind after I read the story was that the maps the woman leaves behind are a bit like what one is left with after reading a great piece of fiction—you may not be able to recall every word, but the shape of the thing is imprinted on your brain. A good story always leaves something indelible behind. Is that an idea that resonates with you? What stories or books have made a lasting impression on you?
Absolutely. Ideally, I want readers to connect with the work on such a deep and personal level that they feel compelled to quit their jobs and watch me from a distance: carving my face into bars of soap, sending me cryptic notes scrawled in crayon, etc. But I realize that’s asking a lot of the reader. As far as books and stories that have left a lasting impression, there are far too many to name. That must be why so many writers have filed restraining orders against me. (You may have won this round, Judy Blume. . .)
3. The best flash fiction stories say a lot—without saying a lot. You do this so well in “Outlander,” like when you describe a town as a place where “cats wear sweaters in the cold season.” Can you talk a little bit about your writing process for a piece like this? How do you know what’s essential?
I read several essays and interviews early in my writing career that filled me with romantic notions about the sentence. Since then I’ve tried to let the language dictate the shape and tone of my stories and trust that the words will organically configure themselves into something resembling a narrative arc. I’ll only put down a sentence if I feel confident about its place within the sonic framework of the story, and because of that I usually end up with little in way of excess. The approach is a somewhat rigid, but it tends to work pretty well for me (most of the time).
4. As is the case in this story, maps often tell us as much about their creators as the places they depict. What would we learn about you if you were to draw us a map of your hometown? What would be some of the most important landmarks, for example?
The map would tell you that I spent much of my childhood outdoors. I did a lot of prancing and frolicking, sometimes in parks, other times in fields, and occasionally in the woods.
The Erie Canal is such a fundamental part of the region, both historically and aesthetically, and I would likely be banished from the city if I failed to mention it. With the exception of a few bad apples (you know who you are), all Rochesterians are well-versed in canal lore. I spent many afternoons walking and biking along that gorgeous bluish-brown water. Other landmarks of personal significance: Mendon Ponds Park (great hiking trails), Wegmans (the finest supermarket in the country), Pontillo’s Pizza (the finest pizza in the country. . . or at the very least, the finest pizza in the county), and Pittsford Sutherland High School (my old stomping ground).
5. Can you tell us a little bit about the image you sent to accompany the story?
John Dermot Woods was kind enough to lend me one of his drawings. I thought the whimsical nature of the piece would serve as a good complement to the story. I highly recommend checking out some of John’s other work. He and Lincoln Michel collaborated on this excellent series of comics last year: Animals in Mid-Life Crises. And his fictional “atrocities” have appeared all over the web.
6. What are you working on now? What’s up next for you?
I spent most of last year working on a long novella (or as I describe it in cover letters, a “short novel”), so right now I’m taking a few months off to recharge my creative batteries before embarking on a new project.