The setting is Tonkin (northern Vietnam) at the turn of
the 20th century. A boy, Tai, witnesses the beheading of his father, a
notorious bandit, and sets out to recover his head and then to find the
man who betrayed his father to the authorities. On this quest, Tai's
entire world will shift. FLESH takes the reader into dark and delightful
places in the human condition, places where allies are not always your
friends, true love hurts, and your worst enemy may bring you the most
comfort. In that emotionally harrowing world, Tai must learn to deal
with new responsibilities in his life while at the same time
acknowledging his bond, and his resemblance, to a man he barely knew-his
father. Through this story of revenge is woven another story, one of
love, but love purchased with the blood of murders Tai commits. A
coming-of-age story, but also a love story, the sensuality of the
author's writing style belies the sometimes brutal world he depicts.
Buy Flesh in Print at:
An Interview with the author . . .
There was no plan
and there was no ‘why’. You write because the urge to write has always been
within you since you were a young boy. You were born with a desire to work with
words. Then when you had enough vocabulary and your thoughts have become more
refined, you were then driven to put them down in words. I wrote my first short
story when I was a young teen. I won a magazine’s short story contest and was
the youngest among the guests to accept the prize. Between seventh and tenth
grades, I wrote a lot of short stories, each of them paying good money. I also
translated stories in English into Vietnamese and sold them to newspapers and
periodicals.
What is your
favorite non-writing pastime?
Away from writing? I’m a neurotic when I’m not making pages.
I read more, much more, when I’m done with a project. That’s for myself. For my
family, we go together, here and there, on the weekends—our bonding time. And
we vacation once or twice a year, depending on our sons’ school schedules. We
always spend our vacations at seaside, sometimes out of the country, say, the
Caribbean or Mexico.
What has been your
greatest challenge as a writer? Have you been able to overcome it?
Finding the voice—the author’s true voice. Writers have
influences on one another. Faulkner, Hemingway, Cormac McCarthy have influences
on me. But when you have found your own voice, then nothing can take it away
from you. When you have your own voice, you are indestructible. You are now a
mature writer. Somewhere in the early going with Flesh, I found my own voice—the author’s voice. I never looked back
after that.
Is writing a
full-time career for you? If not, how else do you spend your work day?
I have a day job like most other writers. But to me writing
is like breathing the air around you. It’s a lifelong job, regardless of
whether or not you hold a full-time job. And it will only end when you stop
breathing. I write seven days a week. You don’t miss any day, and it’s a real
bad deal if you’re faced with a big gap in your writing schedule. For example,
book promotion, vacation. That sort. You even write on the weekends, perhaps
just a short paragraph so the circuit in your brain is continuous. That’s the
capsule of a day in a life of a writer. And it starts over again the next day. If
a novel takes a year or longer to write, the routine of each day is duplicated
over and over again like clockwork.
However, to succeed in writing, at least to be able to
start and finish a novel, you’ll need that god-awful dedication to exclude all
the unnecessary distractions that revolve around you in your daily life. But,
boy, do you consider yourself first a writer, then a husband or a father? If
you do, reconsider your life priority. Once you are married and have a family,
you have family responsibilities as a husband and as a father. By negligence of
these responsibilities in favor of your writing ambition, you will cause
unhappiness to others, especially if you love them enough.
What inspired the
idea behind your book?
There was an image formed in my mind after I read a book
called War and Peace in Hanoi and Tonkin,
which was written by a French military doctor. In one chapter he depicted an
execution by capital punishment. The scene took place on a wasteland outside
Hanoi. This bandit was beheaded for his crime while the onlookers, some being
his relatives with children, watched in muted fascination and horror. While
reading it, I imagined a boy—his son—was witnessing the decapitation of his
father by the hand of the executioner. I pictured him and his mother as they
collected the body without the head which the government would display at the
entrance of the village his father had looted. I thought what if the boy later
set out to steal the head so he could give his father an honorable burial. What
if he got his hand on the executioner’s sabre and used it to kill the man who
betrayed his father for a large bounty.
Tell us about your
favorite character in this book!
TÃ i is my favorite character. I wanted to create a boy who
was impetuous, single-minded and yet tender-hearted and loyal. He is flawed in
this coming-of-age story. But he redeems himself with his charismatic and
magnanimous personality in action. I hope that’s how he is seen by readers.
What message do you
hope readers take away from the book?
I never intend to send readers any message in any novel I
write. I don’t believe in it. But I like novels that give you fruit for
thought. I like novels that offer a redemptive value. I hope Flesh does.
What is your
favorite scene in Flesh?
The final chapter entitled Xiaoli. She’s one of my favorite characters. The farewell scene at
the dock before the ship departs is a poignant scene, considering the love that
TÃ i and Xiaoli have for each other.
Which character in Flesh
will be the most difficult to part with?
Xiaoli. Flesh is
a multicultural love story between the two young souls brought together from
the two countries with different cultures. The female presence and influence in
Flesh is very strong. Yet the
femininity for those females in Flesh
is there, and Xiaoli epitomizes it. That explains why she deserves the final
chapter named after her.
While writing Flesh,
did you connect with one character more than the others? Who and how?
Absolutely. The protagonist has to be the one you as the
creator are closely connected with. But at the same time you are connected with
all other characters that you bring onstage. That’s the dynamics of
self-discovery during the writing process. Being the Maker. Being everything
and then back to being yourself.
What kind of
research was involved for Flesh?
I spend much, much time in researching before I write. I’m
a perfectionist and a harshest critic of myself. I have to know everything
about what I’m going to write—well, sort of—before I ever pen the first word.
For Flesh, I took time to research
for the setting that took place at the turn of the 20th century. I bought
reference books which were available only in printed books and complemented
them with additional research materials obtained on the web. Indeed much
research was done before I felt dead sure about writing it.
Do you have to be
alone or have quiet to write?
A quiet room with a view over the back hill – though I’m
not a bird watcher. A room with a bookcase, a desktop computer, a desktop
phone, a cell phone, both of which I wish to never ring during my writing. On the
wall facing me a painting of a stream in autumn. And a thermos of black coffee.
What do you have in
store next for your readers?
I’m about done with my next novel. I’ve seen light at the
end of the tunnel. I rarely talk about what I’m working on. But well, I can
give you a harmless description. When I was still a struggling young writer, I
came across a very old Vietnamese magazine article written about a centenarian
eunuch of the Imperial Court of Hue. He was already dead the year the story was
published, circa 1966. Two years before I was born. A sketchy story whose facts
were gleaned from the eunuch’s adopted daughter, that ended with a small
halftone photograph of her portrait. I put the article away. But I couldn’t put
the story away, even months after. It dawned on me then that it wasn’t the
story.
It was the face in the photograph. I traveled to Hue,
Vietnam in the summer of 1991. I was 23. I went with her image in the
photograph and when I finally met her, the eunuch’s daughter, that image hadn’t
changed. She was someone like a forbidden love to a young man half her age. The
first time she gave me a glimpse of her past from her spotted memory, it was in
a sugarcane field where two decades earlier, her lover—a young American—had
died in her arms.
What appeals to you
most about your chosen genre?
With literary fiction, you deal with characters more than
with plots. You deal with spontaneity and dynamics of characterization which
shapes the story line. You don’t shoehorn your characters into a predetermined
plot. Depth of characterization is the heart of a literary novel in addition to
the mood, the atmosphere, the ambience, the prose.
Which authors and
books have most influenced your writing style?
Faulkner, Hemingway, Cormac McCarthy: their writing craft
varies from one to another. Faulkner with his lilt in the prose which brings
its beauty home in The Sound and The Fury.
Hemingway with his precision masked by simplicity in the words, sentences put
together – hardest art to achieve. McCarthy with his unparalleled use of the
regional dialog and how he paints the landscape that sets the mood. As a teen I
read The Izu Dancer by Yasunari
Kawabata, Rain by Somerset Maugham,
and The Snows of Kilimanjaro by
Hemingway. They haunt like a good long book. I read The Sound and the Fury by Faulkner and found myself envying him.
All these have influenced me.
Do you believe in writer’s block? Has it ever happened to
you?
Every day when I sit down to write, I try to stay true to
myself—the only one I'm accountable for—in every word I pen. Yet there are
times when I'd look at words and see only empty spaces. I know it is not a
writer's block. I don’t believe there’s such a thing. Rather it is the ebb and
flow during an act of creativity. I don't need to "squeeze the peel of the
little oranges into the edge of the flame and watch the sputter of blue that
they made." [Ernest Hemingway, A
Moveable Feast] But I know that a novel is a long story made up of
interconnected scenes. Whenever you start struggling with a scene, it’s a good
indicator of a potential problem. If you can write each scene to its fullest,
it’d breed the next scene. You can’t force a story to happen. When you do,
you’ll face ‘writer’s block.’
What
was the last truly great book you read?
A Lesson Before
Dying by Ernest Gaines. This classic reminds me of Flowers for Algernon whose author taught
me creative writing at Ohio University.
Meet the Author
Khanh Ha was born in Hue, the former
capital of Vietnam. During his teen years he began writing short stories which
won him several awards in Vietnamese adolescent magazines. He graduated from
Ohio University with a bachelor's degree in Journalism. He is at work on a new
novel.
www.authorkhanhha.com
www.authorkhanhha.com
Thanks so much for taking part in the tour and hosting Khanh!
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