Garth Greenwell’s first novel, What Belongs to You (FSG, 2016), received the British Book Award for Debut of the Year and was longlisted for the National Book Award. He is currently working on a short story collection that follows the unnamed narrator of What Belongs to You beyond the events of the novel. Greenwell recently visited Ohio State University to teach a weekend workshop on voice in fiction; there, he met with MFA student Scott Broker for the following interview, which focused on place, transgression, and the “real life of literature,” among other topics.
Greenwell began with a consideration of MFA programs themselves: their advantages, limitations, and potential spaces of improvement.
Garth Greenwell: The single reform I would make of MFA programs would be a serious and rigorous language requirement. Every major advance in English literature has happened because of a collision or a creative encounter with another language [and] it does worry me a little bit that when I talk to American writers, I don’t feel that there’s the same kind of openness to the kind of breadth of reading and linguistic competence that allows you to see that the game being played in mainstream American fiction is one game among many.
Scott Broker: This idea of collision ties in well with your own creative practice, as What Belongs to You and the new story collection both emerged from your time living in Bulgaria. I’m curious about this relationship and how much of the import, for you, is in Bulgaria being Bulgaria, and how much of it is in Bulgaria simply being somewhere other than the United States.