An article about Fantasy author Kelly Links.
MAR. 14, 2023
The Fabulist in the Woods
In Northampton with Kelly Link and her community of like-minded writers..
Kelly Link lives in a yellow farmhouse in Northampton with her husband, the editor Gavin J. Grant, and their 14-year-old daughter, Ursula. They have a Labradoodle named Koko and, out back, six chickens named after dragons and fonts: Toothless, Falkor, Fafnir, Midgard Serpent, Bembo, and Chancery. When I arrived on a snowy night in January, she offered me wool slippers and tea. “I’m an absolute hobbit,” she said — a creature fond of a warm hearth and a quiet evening at home. We settled at the kitchen table beside a potted sweet-potato vine that had sprouted in the pantry. “I didn’t have the heart to …” She petted the leaves. “It was so determined.”
In the stories of Kelly Link, strange things happen in otherwise ordinary settings. A teenage girl from Iowa travels to New York to find an older guy she met online and ends up at a hotel hosting a pair of conventions: one for dentists and one for superheroes. A girl from the Boston area discovers a lost world preserved inside her grandmother’s old handbag (which is made from the skin of a dog that lives inside it). Her stories do not abide by the rules of conflict and resolution — they make sense in the way that dreams make sense. Pressed to explain these phenomena, Link’s characters tend to change the subject. “The mechanics of how I can speak are really of no great interest, and I’m afraid I don’t really understand it myself, in any case,” a talking cat insists in a story from Link’s new collection,
White Cat, Black Dog. Since 2001, Link has published four books of short stories, with the fifth — a series of unsettling retellings of classic fairy tales — out this month. For much of that time, she has worked in relative obscurity. Early reviewers were impressed by her originality, but she remained largely unknown outside of M.F.A. programs and fantasy circles. When her first book was published more than 20 years ago, serious literature, for the most part, meant one-pound tomes of psychological realism.
That has changed as Link’s stature has grown. In 2016, she was a finalist for the Pulitzer Prize; a few years later, the MacArthur Foundation awarded her a “genius” grant for “pushing the boundaries of literary fiction.” This shift owes something to the influence Link, 53, has had on a generation of younger, mostly women writers, including
Helen Oyeyemi and
Karen Russell. Like Link, they draw on old storytelling forms, including fairy tales and Greek myths. The author
Carmen Maria Machado, who has a line of Link’s tattooed on her bicep (“She didn’t look back, but stepped off the edge of the known world”), said when she first encountered Link’s fiction more than a decade ago at the Iowa Writers’ Workshop, it expanded her notion of what a story could be. “I feel like she put her fingers in my eyeballs and gave me powers,” Machado said.
Most working days, Link meets up with two of her closest friends, the fantasy novelists Cassandra Clare and Holly Black, in an Amherst barn that Clare had converted into a studio. The three work there together, surrounded by steampunk-themed decorations and appliances: a wooden “assassin’s hand” equipped with needles designed to inject poison into the intended victim, a microwave encased in the shell of an old-fashioned camping oven. The trio became friends after they started running into one another at fantasy conventions two decades ago, and all ended up living within ten miles of one another in the woods of Western Massachusetts. From a certain perspective, they are unlikely workshop partners: Black and Clare write hugely popular commercial novels, mostly for young adults (they have each written more than 20 books, including five together). But they share Link’s interest in the esoteric and the uncanny. Over the afternoon, their conversation ranged from the laudanum-soaked writers’ retreat where Mary Shelley wrote
Frankenstein to the CW series
The Vampire Diaries. Eventually, they turned to the challenges of revision. Black, whose curtains of blue-black hair conceal ears surgically altered to make her look like an elf, said improving her drafts usually came down to plugging up the plot holes. Simple. She turned to Link. “There’s stuff about your process we will never
truly understand,” she said. Link, soft-spoken and unassuming, protested that she wasn’t so unusual. “I think that’s true in general about the revision process,” she replied. She was cocooned in a green sweater, little moons and cat skulls dangling from her ears. “The reasons are sometimes very opaque but satisfying to the person who makes them.” ...
https://www.vulture.com/article/kelly-link-white-cat-black-dog-profile.html