David Burnett was the son of Martha Foley, who edited the Best American Short Stories series. She hired me to work with David and her to read stories for the anthology.
My first published novel, 'American Rust,' took three and a half years of full-time work to write. But I wrote two apprentice novels before that.
When you write your first novel you don't really know what you're doing. There may be writers out there who are brilliant, incisive and in control from their first 'Once upon a time'. I'm not one of them. Every once upon a time for me is another experience of white-water rafting in a leaky inner tube. And I have this theory that while the Story Council has its faults, it does have some idea that if books are going to get written, authors have to be able to write them.
Imaginative writing has always been a solitary and indeed a somewhat antisocial activity. Apprenticeship existed, no doubt, but it was an apprenticeship to books and not to living masters of the craft.
Writing is a difficult trade which must be learned slowly by reading great authors; by trying at the outset to imitate them; by daring then to be original; by destroying one's first productions.
The idea that a poem was a made thing stayed with me, and I decided then that I wanted to be an artist, not just a diarist. So I put myself through a kind of apprenticeship in writing poetry, and I understood even then that my practice as a poet was deeply related to my reading.
All writers start out mimicking other writers. I've never relinquished that. I have a good ear for speech and writing patterns.
I was writing novels in high school and apprenticed myself in a way both to Faulkner and to Hemingway.
Writing about Africa by Africans has been part of my literary apprenticeship, standing alongside works by authors such as Joseph Conrad, Joyce Cary and Graham Greene as influences.
I was a prodigy who learned how difficult writing was only after getting published. I paid my dues later.
I walk with Federico Garcia Lorca around the Upper West Side in Manhattan because that was a neighborhood he lived in and I imagine walking around Paris with Cesar Vallejo, a great Peruvian poet who lived in Paris. And I kind of create the walk as a kind of drama of my apprenticeship.
I had the idea in my twenties that a writer could immediately become the late Henry James. Henry James himself had to mature. Even Saul Bellow did.
I think in terms of educating a group of readers, MFA programs are very good. I just think the model of MFA programs in which a young poet goes through the program, publishes a series of books, gets teaching jobs, that's a bit at risk.
