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• W2091600817 abstract "Jill McCorkle: In Conversation with Michael Kreyling Jill McCorkle and Michael Kreyling Editor’s note: The following interview took place on the morning of April 5, 2013, from 9–10 am in the Melbern G. Glasscock Center for Humanities Research at Texas A&M University. The surrounding occasion was “Everybody to their own visioning”: Eudora Welty in the Twenty-First Century. The conference was generously sponsored by Texas A&M University’s Melbern G. Glasscock Center for Humanities Research, Department of English, and Academy for Visual and Performing Arts, and by Baylor University. The format for the interview was simple: Michael Kreyling and Jill McCorkle exchanged questions and responses for roughly forty minutes, then questions were requested from the audience. The previous evening, McCorkle had read from her 2013 novel, Life After Life. This print transcript of the interview has been made from an audio recording. Louis D. Rubin, Jr., whose loyalty and support figures so prominently in Jill McCorkle’s comments, died November 16, 2013, at the age of 89. Michael Kreyling: We’re here to talk about Jill McCorkle’s work and, especially since this is a Eudora Welty conference, the connections between her mind and Eudora’s, or her creative imagination and Eudora’s. So, I wanted to start off with a sort of an apology or a disclaimer. I made an honest attempt to read your most recent novel. I ordered it from Amazon Prime. I thought I would get it the next day, right? Before I hit the “complete this order” button, I neglected to look at the delivery address, and, since the last time I ordered books, I had them sent to the house we live in in California…. So Life After Life is now in zip code 95497, and I look forward to reading it in June. [laughter] But I heard some really good parts of it last night. And I wish I could, when I read it, I wish I could hear your voice reading it in my head. I’ll have to read it in my voice. Jill McCorkle: Well, that’s so sad. [laughter] MK: Maybe we’ll do some sort of introductory question. The last time I saw you was at the Southern Festival of Books in Nashville [October 2011], and you were trying to interview Marshall Chapman, and Marshall Chapman is a former debutante, former southern debutante, now a rockabilly musician. And it struck me that that transition from southern debutante to rockabilly is sort of like a transition from Cassie Morrison to Virgie [End Page 137] Rainey [characters in The Golden Apples] all in one person. And I wondered if you ever, if it ever occurred to you that a lot of your heroines, if that’s even the right word for your characters, (it seems like calling them heroines is almost dragging them back into the male dominated sort of discourse and I apologize or I asterisk that word right away), but I wondered if you ever thought of Jo Spencer in The Cheer Leader or some of your other female characters as Cassie and Virgie in one body. JM: That’s an interesting question. I think all of my characters have something at the core, just sort of chomping at the bit and waiting for that moment to come up for air and for everything to erupt. So, there’s definitely the southern genteel surface or what may be perceived as the right thing, and then there’s the just primal burst of emotion. Again, back to something like Welty’s “Why I Live at the P. O.” or just the switch gets flipped, and out it comes. MK: I also read that you had this interesting thing called “Cuss Time,” which you talked about in an essay. Well, you can probably talk about—tell everybody here more about that than I can. Your kids coming home from school, and they say forbidden words. And you say they can use those words for five minutes and then when those five minutes are up, you can’t say that anymore for the day. JM: You know, I tried to publish this in all the parenting magazines..." @default.
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• W2091600817 title "Jill McCorkle: In Conversation with Michael Kreyling" @default.
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• W2091600817 doi "https://doi.org/10.1353/ewr.2014.0002" @default.
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