interview

Not long after I mentioned her 1977 novel, The Blue Chair, in a Reader Recommendations post, Joyce Thompson emailed with thanks for the notice and reported that she’s busy working as a writer of fiction again, after a long stint as a technical writer for Microsoft. She graciously agreed to answer a few questions about The Blue Chair and about some of her more recent works.

What was your reaction when you found a post referring to The Blue Chair as a neglected book?
Better neglected than forgotten! Over the many years since its original publication, I’ve gotten correspondence from readers who can’t forget the book, or heard the occasional voice in the wilderness proclaiming it a must read. Most recently, someone found and pinged me on Facebook to say, Now that I’m the age that Eve Harmon was, I’m struck by how much of The Blue Chair has come true.

The Blue Chair was your first novel. How did you come to write fiction?
My kindergarten report card says, “Joyce keeps us amused with her stories.”

For me, storytelling is the key to the kingdom, the journey and the test and the joy. Stories find me and I engage with them. I’ve also written stage plays, produced, and a few screenplays, paid for but not realized on film. I used to think of myself as a poet. But prose fiction is the most durable, most pliable container for a storyteller. Sometimes it requires you to reinvent the form so that your story can be told.

And The Blue Chair was not my first novel. I’d written a much more realistic novel right out of college, part of teaching myself the form. Seymour Lawrence, who then had a star editor imprint at Delacorte, read it and gave me a lot of great notes. He even called me a couple of months later to see how my rewrite was progressing. But I had no idea how to rewrite a novel then, so I waited for the next one to come along. That was The Blue Chair. Nobody asked for rewrites. Lawrence did, bless him, make me understand that I needed to tame my lyrical impulse in order to write good prose. That lesson stuck.

At the time it was published, The Blue Chair was considered science fiction. Looking at it now from a distance of almost forty years, does that label still fit?
Insofar as the social premise is based on the assumption that science will advance, and those advances will affect humans in unforeseen and irremediable ways, sure. I think I was a lot closer on the pure science than the technology. People consume text on screen, I got that right, but in 1975, I was imagining microfiche on steroids, not the digital revolution.

What does resonate today is the premise itself: That in the course of looking for a cellular level treatment for cancer, science has discovered a way to extend human life indefinitely, an innovation with serious implications for the ability of the planet to support a species that does not replace itself and die. In the novel, only white first-world citizens are eligible for immortality, this only if they choose not to reproduce. Those who do reproduce are limited to two children per couple; once they reach the age of 70, they’re entitled only to palliative, not life-prolonging medical care. The rationing of health care and state intervention in the cycles of life and death doesn’t seem so far fetched anymore.

I would add that I consider myself a “literary” writer who likes to put a genre engine under the hood. Fiction is my way of exploring the other—in terms of race, age, gender, class, sexual preference, soma, soul. That’s novels—the form for exploring what you don’t understand but want or need to. Short stories, for me, are the form for writing about what you do understand, what you know in your bones. My stories—two collections published—are more conventional, more drawn from my own real experience than my novels are.

The Blue Chair is set in an America where the privileged (white) people are cared for by an underclass of (dark skinned) emigrants and have the possibility of attaining immortality. To what extent would you say that some of what you anticipated has come true?
The premise was that people could escape the chaos and deprivation of the Third World by indenturing themselves to the First (imperialist) World. In the novel, American blacks are citizens with full rights, but too often mistaken for indentured immigrants because of the color of their skins. That’s all pretty much come true. What I didn’t foresee in 1975 was the Reagan/Clinton one-two punch, the infusion of drugs into communities of color and the mass incarceration of young black men, coincident with the rise of for-profit prisons, that we were, in effect, building our own Third World, from our own citizens and in our own neighborhoods.

Was your characterization of the security state in which TThe Blue Chair is set in any way a reaction to things you saw going on in the Seventies, such as Watergate?
The security state was pretty much a 20th century paradigm, a meme of the tendency of governments to control their people through surveillance, oppressive bureaucracy and domestic military policing. It’s kind of an inescapable historic and literary theme. I just put my own spin on it.

The Blue Chair was published as a paperback original by Avon Books, which had up to then been pretty much exclusively a re-publisher of works first published in hardback. How did their choice to release your book come about?
The Blue Chair’s first person protagonist is a 70 year old woman poet in a dystopian future society, who is able to re-experience her life by sitting in her blue chair. Ten editors said lovely things about the writing and their personal experience of the book—and also said they didn’t believe it would sell. The 11th was a young editor at Avon and The Blue Chair was either the first or the second book she got to choose herself—risk fiction. She grew up to be Susan Moldow, now President of the Scribner Publishing Group, with a long and brilliant career in publishing. At that time, she worked under Bob Wyatt’s wing—he who brought out affordable English translations of the all the emerging Latin American novelists of the time. I felt like I was in good company.

Paperback originals are ephemeral, but the first press run was huge, there was a substantial second printing adding up to over 100,000 books out there in supermarkets, bus stations and bookstores. A couple of years later, Avon reprinted the book in their Bard line, which kept it in print longer and in better company than would otherwise have happened. Checking WorldCat today, I see it’s the only one of my six published novels that doesn’t currently have any library life.

In the mid-1990s, you took a break from writing fiction and joined Microsoft as a technical writer. How has that experience changed your perspective as a writer?
In the mid-90s, I was raising and supporting two kids by myself. I was having a wrangle with my then-publisher about the second book of a two book contract and teaching fiction in a not-very-exciting MFA program. A friend invited me to do something new in another part of the forest. I went for new—not technical writing but writing creatively and collaboratively for new media. I worked on various teams at Microsoft for 3 ½ years, then stopped commuting to Redmond and started my own business. That’s when I discovered I could talk to engineers and translate them into language regular people could understand. I’ve never written manuals but I’ve helped bring 20 years’ worth of emerging technologies to market and public attention. That experience has given me an inside view of the vast changes in culture, consciousness and communication those technologies have driven. The novel I’ve just finished, A Wake for Paper, is about three generations of writers in one San Francisco family, living out those tectonic shifts through the recent recession. Grandpa’s a poet/professor, the parental generation are journalists, the youngers a coder/hacker and an online blogger, respectively.

Harper Collins published Sailing My Shoe to Timbuktu, a memoir about dealing with your mother’s Alzheimer’s and your initiation into Santeria, in 2003. Are you interested in doing more autobiographical work, or are you planning to stick with fiction?
I loved writing Sailing My Shoe, which I did in the year after my mother died. If I’m lucky enough to live an interesting life for the next ten or twenty years, I might have another memoir in me.

Has the reception of your 2013 novel, How to Greet Strangers: A Mystery, encouraged you to write another work featuring your lead character, Archer Barron?
How to Greet Strangers, like The Blue Chair, is a story and character that took hold of me and demanded to be written. Archer is a black drag queen disengaging from Santeria and an accidental detective in the mean streets of Oakland, where I’ve lived for the last 15 years. Like The Blue Chair, it’s a book that keeps readers up all night and mainstream publishers say they can’t sell. In its small press edition, it was a finalist for Lambda Literary’s Best Gay Mystery. The ALA called it “an important addition to any fiction collection.” The second volume of Archer’s story, Cops and Queens, is done. Did I mention that I’m looking for someone bold enough to publish them right?

Here’s hoping this post catches the eye of an interested publisher. Thanks, Joyce.