More than 30 years ago, I conducted a lengthy interview with Tom Disch. How lengthy? Once transcribed, it came to nearly 18,500 words, and took up 48 pages of the Winter 1986 of Last Wave. I’ve been thinking of that interview ever since my recent share of an equally intensive interview with Chip Delany, and decided the conversation was worth reviving here. Tom, who was one of my instructors at Clarion in 1979, deserves to be remembered.

John Clute wrote this about Tom in the Science Fiction Encyclopedia:

Because of his intellectual audacity, the chillingly distanced mannerism of his narrative art, the austerity of the pleasures he affords, and the fine cruelty of his wit, Disch was perhaps the most respected, least trusted, most envied and least read of all modern sf writers of the first rank.

I’ve always been in awe of that description. Read on to see whether you agree it was deserved.

But before you begin, I feel a couple of trigger warnings are in order:

First—as part of a discussion of how Tom’s homosexuality might have affected his writing, I raised the issue of sex change operations in the context of how certain editors were biased against life choices choices they couldn’t understand. I cringed just now reading how I framed that question, because in the intervening three decades since I asked it, I’ve come to believe that’s a lousy term to describe what’s actually happening under those circumstances, which is the bringing about an alignment of one’s inner and outer selves. I’d never ask that question in the same way today—because I now think of the process as being not a change but a gender confirmation—and I’m sorry I raised the topic that way then. But in the interests of historical accuracy and not ducking responsibility, I’m leaving in the question as it was asked in 1984.

As for second trigger warning—Tom makes a joking reference to John Norman novels and rape which I worry could be triggering for some. If you want to skip that completely, jump over the answer he gives to the question I raise about his review of a Ron Goulart novel.

Now that I’ve taken care of that—hoping that my attempts haven’t made things worse—here’s the entirely of the interview, as it appeared in the final issue of Last Wave.

Thomas M. Disch is one of the more talented and controversial figures in the science fiction field. His body of work encompasses short stories, novels, poems, opera libretti, essays, book reviews, and now even an interactive novel. In every instance he has chosen to work at a level of ambition of which only a handful of other genre writers share in the attempt. He has created works of a remarkably high quality, and at the same time enraged many for his failure to fall into the lockstep of genre requirements. The following interview took place on August 11, 1984 in Tom Disch’s Manhattan apartment.

Last Wave: I think of you as being a joyful writer, as opposed to being the depressing writer which many other people seem to paint you. In your early novel The Genocides, for instance, which is one often given as an example of a depressing work because the benign, indifferent aliens win, I find triumphal joy, for the protagonists in it do triumph with dignity against great odds over the human evil around them. In your recent On Wings of Song, which I’ve read one reviewer claim to be a cynical book, I see a happy ending: David Weinreb does get free and fly. For some reason many people prefer to see him as dying. In rereading these two works and all else inbetween, I just don’t see the cynicism which the overwhelming majority of readers chooses to focus on. Why do you think there is this myth of your work being such a downer? (more…)

I have nothing more to say at the moment about Tom Disch or last weekend’s memorial gathering, but that doesn’t mean there isn’t more for you to see.

Here are the remaining pictures I snapped of the photos which were on display.

My favorite may be this one from 1950 of Tom at age 10 with Mr. Potato Head. (more…)

I’m just back from dinner with Ellen Datlow, Sheila Williams, John Crowley, and Jacob Weisman following the Thomas M. Disch memorial at Alice Turner’s apartment, and finding that I’m much too tired to give any coherent recounting of what transpired today.

But before I drop off, I thought I’d at least share a few pictures, each of which is supposed to be worth 1,000 words anyway, right? Forgive the blurriness, as I didn’t scan these, just snapped them in place from photos which had been brought by Tom’s family.

Here’s Thomas Disch the child …

… Thomas Disch the boy … (more…)

Alice K. Turner graciously hosted a memorial last night for the late Thomas M. Disch so that friends and family could gather to collectively remember him. The night of the 18th had been chosen because that was when the Disch clan, including his younger brothers Jeffrey and Gregory (twins five year’s Tom’s junior) and younger sister Nancy (ten year’s Tom’s junior) could arrange to be there, and I want to thank them and the rest of the family for allowing us in so that we could grieve and celebrate him as a group.

There were many familiar faces from science fiction there, such as Sheila Williams, John Crowley, Chip Delany, Ellen Datlow, Gregory Feeley, Jacob Weisman and others, but there were also people I had previously known only as names, and their presence was evidence that Tom’s work mattered far outside the SF field. (more…)

I just noticed that the following event is scheduled to take place on Friday at 9:00 p.m.

For me, this will take priority over everything else scheduled that weekend.

Bring your kleenex.

Tom Disch’s “Winter Journey”
(40 min.)
Almost exactly a year after the death of his longtime partner Charles Naylor in September 2004, Tom Disch began writing a sequence of poems, which he shared on his blog. Eventually there were 31 of them. He titled the sequence “Winter Journey” after Schubert’s lieder cycle “Winterreise” (a work Naylor loved). Elizabeth Hand calls the sequence “an extraordinary efflorescence of grief … tragic, bitter, bleakly funny, romantic, heart-rending—and also accessible. I can imagine, by some divine fluke, the book becoming a surprise, posthumous bestseller—an irony Disch would have appreciated.” When the sequence was completed, Disch contacted friend and filmmaker Eric Solstein, and asked if a reading of the work might be videotaped to serve as a suicide note. At its conclusion, he said, he would kill himself, the attendant publicity hopefully contributing to the success of the recording. A deal was struck between Tom and Eric—the taping would proceed if the suicide were postponed for some indefinite period of time. This will be the first public showing of “Winter Journey.” The poems are to be published later this year, by Payseur and Schmidt, with a DVD of the reading included.

In the mid-’80s, I collected science fiction, fantasy and horror quotes with the thought that I’d eventually assemble them into our field’s version of Bartlett’s Familiar Quotations. Though I pitched that book to several publishers back then, I never succeeded in placing it, and abandoned the idea. (Besides, now that Gary Westfahl has published his wonderful Science Fiction Quotations: From the Inner Mind to the Outer Limits, there’s no need for my book anyway.)

As part of my mourning for Tom Disch, I paged through those old quotes to find the ones I’d culled from the works of his I’d read up until that time. Since you might be mourning, too, I thought I’d share some of them, so that we can collectively remember what we’ve lost. (more…)

Tom Disch visited me in my sleep this morning. There was no sense of surprise in the dream, by which I mean there was no awareness that in real life he was dead, and that such an encounter would from now on be impossible.

We were sitting at a picnic table, much as we were during my moving one-on-one conference back at Clarion in 1979, which I shared about earlier here. We were in the backyard, not of my current house, but of the one I lived in from 1989 through 2004.

We were having a pleasant conversation, about which I’m sorry to say I remember none of the details. (That’s unfortunately often the way with dreams; the stuff I most want to remember fades upon waking.) But I do remember the twinkle in his eye, which was there during our whole chat, a twinkle which so many of you have mentioned in your posts in the days since his death.

In the midst of all this, it suddenly occurred to me that I was being a poor host. He had traveled so far, and I hadn’t offered him anything to eat or drink. So I apologized, and asked what I could get him. He said that he only wanted juice, so I went inside to get him some, filling a glass with cold orange juice from the fridge.

By the time I came back outside, glass in hand, he was gone.

And then I woke up, missing him.

I’ve just learned that Thomas M. Disch, author, teacher, editor, and poet, has passed away. He is the second instructor I had at the Clarion Science-Fiction Writing Workshop to have died in the past few weeks, having been preceded by Algis Budrys. In addition to having both been teachers of mine, Tom and Ajay were bound together in another, far more intense way, as can be seen by the recent posting in which Tom wrote of Ajay, “I was certain I would beat him to the exit, but now I get to dance on his grave,” an eerie sentiment to reread in light of this new context.

I can no longer remember when I read my first Disch, but I can very much remember when I read my favorite Disch. It was in the pages of Terry Carr’s 1967 Ace Books anthology New Worlds of Fantasy, which reprinted “The Squirrel Cage.” The story begins:

The terrifying thing—if that’s what I mean—I’m not sure that “terrifying” is the right word—is that I’m free to write down anything I like but that no matter what I do write down it will make no difference—to me, to you, to whomever differences are made. But then what is meant by “a difference?” Is there ever really such a thing as change?

We learn that our narrator is locked in a small, windowless room. He has no memory of how he got there or why he is there. Perhaps he volunteered for an experiment. Perhaps he’s the sole survivor of the human race, Perhaps he’s being studied by aliens. All he knows is that time is passing while the only things he has with which to entertain himself are the copies of the New York Times which keep showing up in the room. (more…)