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Thomas M. Disch

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Thomas M. Disch
Disch with his books in 1988
Disch with his books in 1988
BornThomas Michael Disch
(1940-02-02)February 2, 1940
Des Moines, Iowa,U.S.
DiedJuly 4, 2008(2008-07-04)(aged 68)
Manhattan, New York City,U.S.
Pen nameLeonie Hargrave
Victor Hastings
withJohn Sladek:
Thom Demijohn
Cassandra Knye
OccupationWriter, poet
Period1962–2008
GenreScience fiction,speculative fiction,poetry,children's fiction,criticism
Literary movementNew Wave
PartnerCharles Naylor, Jr (May 3, 1944 – July 30, 2005)

Thomas Michael Disch(February 2, 1940 – July 4, 2008) was an Americanscience fiction writerand poet.[1][2][3]He won theHugo Awardfor Best Related Book —previously called "Best Non-Fiction Book" —in 1999. He had two other Hugo nominations and nineNebula Awardnominations to his credit, plus one win of theJohn W. Campbell Memorial Award,aRhysling Award,and twoSeiun Awards,among others.

In the 1960s, his work began appearing in science-fiction magazines. His critically acclaimed science fiction novels,The Genocides,Camp Concentrationand334are major contributions to theNew Wavescience fiction movement. In 1996, his bookThe Castle of Indolence: On Poetry, Poets, and Poetasterswas nominated for theNational Book Critics Circle Award,[4]and in 1999, Disch won the Nonfiction Hugo forThe Dreams Our Stuff Is Made Of,a meditation on the impact of science fiction on our culture, as well as theMichael Braude Award for Light Verse.Among his other nonfiction work, he wrote theatre and opera criticism forThe New York Times,The Nation,and other periodicals. He published several volumes of poetry as Tom Disch.

Following an extended period of depression after the death in 2005 of his life-partner, Charles Naylor, Disch stopped writing almost entirely, except for poetry and blog entries, although he did produce two novellas.[4]Disch fatallyshot himselfon July 4, 2008, in his apartment inManhattan,New York City.[4][1][2]Naylor and Disch are buried alongside each other at Saint Johns Episcopal Church Columbarium,Dubuque, Iowa.His last book,The Word of God,which was written shortly before Naylor died, had just been published a few days before Disch's death.[4]His last short story collection,The Wall of America,Disch's first in over 25 years, was published posthumously several months later.

Early life

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Disch was born inDes Moines,Iowa, on February 2, 1940. Because of apolioepidemic in 1946, his mother Helenhome-schooledhim for a year. As a result, he skipped fromkindergartento second grade. Disch's first formal education was at Catholic schools, as evidenced in some of his works which contain scathing criticisms of the Catholic Church. The family moved in 1953 to St. Paul inMinnesota,rejoining both pairs of grandparents, where Disch attended both public andCatholicschools.[4]In the Saint Paul public schools, Disch discovered his long-term loves of science fiction, drama, and poetry. He describes poetry as his stepping-stone to the literary world. A teacher at St. Paul Central, Jeannette Cochran, assigned 100 lines of poetry to be memorized; Disch wound up memorizing ten times as much.[5]His early fascination continued to influence his work with poetic form and the direction of his criticism.

After graduating from high school in 1957, he worked a summer job as a trainee steeldraftsman,just one of the many jobs on his path to becoming a writer. Saving enough to move to New York City at the age of 17,[4]he found aManhattanapartment and began to cast his energies in many directions. He worked as an extra at theMetropolitan Opera Housein productions ofSpartacusfor theBolshoi Ballet,Swan Lakefor theRoyal Ballet,andDon Giovanni,Toscaand others for theMet.[6]He found work at a bookstore, then at a newspaper. At the age of 18, a penniless, friendless teenager, he attempted suicide by gas oven but survived due to not having had enough money to pay the gas bill.[7]Later that year, he enlisted in the army. Disch's incompatibility with the armed forces quickly resulted in a nearly three-month commitment to amental hospital.

After his discharge, Disch returned to New York and continued to pursue the arts in his own indirect way. He worked, again, in bookstores, and as a copywriter.[4]Some of these jobs later paid off; working as a cloak room attendant in New York theater culture allowed him to both pursue his lifelong love of drama and led to work as a reviewer of staged drama. Eventually, he got another job with an insurance company and went to school. A brief flirtation with architecture led him to apply toCooper Union,where he was told he got the highest score ever on their entrance exam, but he dropped out after a few weeks.[6]He then went to night school atNew York University(NYU), where classes on novella writing andutopianfiction developed his tastes for some of the common forms and topics of science fiction. In May 1962, he decided to write a short story instead of studying for his midterm exams.[4]He sold the story, "The Double Timer", for $112.50 to the magazineFantastic.[4][8]Having begun his literary career, he did not return to NYU but rather took another series of odd jobs such asbank teller,mortuaryassistant, and copy editor —all of which served to fuel what he referred to as his night-time "writing habit". Over the next few years he wrote more science fiction stories but also branched out into poetry; his first published poem, "Echo and Narcissus", appeared in theMinnesota Review's Summer 1964 issue.[9]

Career

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Disch entered the field of science fiction at a turning point, as thepulp adventurestories of its older style began to be challenged by a more serious, darker style. Rather than trying to compete with mainstream writers on the New York literary scene, Disch published work in science fiction and literary magazines, and began to speak with a new voice. His first novel,The Genocides,appeared in 1965;Brian W. Aldisssingled it out for praise in a long review inSF Impulse.[10]Much of his early science fiction was published in English authorMichael Moorcock's New Wave magazine,New Worlds,including his sixth novelCamp Concentrationin two installments.

Disch traveled widely and lived in England, Spain, Rome, and Mexico. In spite of this, he remained a New Yorker for the last twenty years of his life, keeping a long-time New York residence overlooking Union Square. He said that "a city like New York, to my mind, is the whole world."[11]

Writing had become the dominant focus of his life. Disch described his personal transformation from dilettante to "someone who knows what he wants to do and is so busy doing it that he doesn't have much time for anything else."[5]AfterThe Genocides,he wroteCamp Concentrationand334.More books followed, including science fiction novels and stories,gothicworks, criticism, plays, alibrettofor an opera ofFrankenstein,prose and verse children's books such asA Child's Garden of Grammar,and ten poetry collections. In the 1980s, he moved from science fiction to horror with a quartet set in Minneapolis:The Businessman,The M.D.,The Priest,andThe Sub.

His writing includes substantial periodical work, such as regular book and theater reviews forThe Nation,The Weekly Standard,Harper's,The Washington Post,theLos Angeles Times,The New York Times,theTimes Literary Supplement,andEntertainment Weekly.Recognition from his award-winning books led to a year as "artist-in-residence" at theCollege of William & Mary.During his long and varied career, Disch found his way into other forms and genres. As a fiction writer and a poet, Disch felt typecast by his science fiction roots. "I have a class theory of literature. I come from the wrong neighborhood to sell toThe New Yorker.No matter how good I am as an artist, they always can smell where I come from. "[11]

Though Disch was an admirer of and friends with the authorPhilip K. Dick,[12]Dick wrote an infamous paranoid letter to theFBIin October 1972 that denounced Disch and suggested that there were coded messages, prompted by a covert organization, in Disch's novelCamp Concentration.Disch was unaware of this letter at the time, and he would go on to champion thePhilip K. Dick Award.[13]However, in his final novel,The Word of God,Disch got his revenge with a story in which Dick is inHell,unable to write because ofwriter's block.In return for a taste of human blood, which will unlock his ability to write, he makes a deal to go back in time and kill Disch's father so that Disch will never be born, and at the same time to killThomas Mannand thereby to ensure thatHitlerwinsWorld War II.Disch also referred to Dick in a blog post stating "May he rot in hell, and may his royalties corrupt his heirs to the seventh generation."[14]

Disch shared his Manhattan apartment and a house inBarryville, New York,with his partner of three decades, poet and fiction writer Charles Naylor. Although he wasoutas a gay man after 1968 and this facet of his life was occasionally foregrounded in his work (most notably in his poetry andOn Wings of Song), he did not try to write to a particular community: "I'm gay myself, but I don't write 'gay' literature."[11]He rarely mentioned his sexuality in interviews, though he was interviewed by the Canadian gay periodicalThe Body Politicin 1981.[15]After Naylor's death in 2005, Disch had to abandon the house, as well as fight attempts to evict him from hisrent controlledapartment, and he became steadily more depressed. He wrote on aLiveJournalaccount from April 2006 until his death, in which he posted poetry and journal entries.[16]Shortly before Disch's death, in September and October 2007 literary criticPeter Swirskiconducted email interviews with Disch concerning his novelsThe M.D. A Horror Storyand334.Excerpts from these exchanges were published in Swirski's 2010 studyLiterature, Analytically Speaking– Chapter 7 is mostly onThe M.D.– with Disch responding to questions with wit and irony.[17]

Disch was an outspoken atheist[18]as well as a satirist;[19]his last novelThe Word of Godwas published byTachyon Publicationsin the summer of 2008.[14]His final published work, the posthumous story collectionThe Wall of America,contains speculative fiction from the last half of Disch's career. Most of his literary short fiction was not collected after 1976 (although a story fromThe Hudson Reviewwas collected in 2008). Right up to the end of his life, he maintained an active blog notable for its wit.[20]

Computer game design

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Main article:Amnesia (1986 video game)
Disch with his computer andAmnesiain 1986 or 1988

In 1986, Disch collaborated withNew Jerseysoftware companyCognetics Corporationand games publisherElectronic Artsto create theinteractive fictiongameAmnesiafor theCommodore 64,IBM PC compatibles,andApple IIcomputers. The game, based on technology pioneered by Cognetics' Charles Kreitzberg, was produced byDon Daglowand programmed by Kevin Bentley. It showcased Disch's vivid writing, a stark contrast to other game-programmer-written text adventures of the time, and his passion for the energy of the city of New York. Although the text adventure format was dying by the timeAmnesiawas released and it enjoyed limited success, the game pioneered ideas that would later become popular in game design by modeling the entire Manhattan street map south of 110th St. and allowing the player to visit any street corner in that part of the city in their quest to advance the story. Although the limitedfloppy diskcapacity of the 1980s computers caused much of Disch's original text about the city to be cut, many Manhattan sites and people were described with unique loving distortion through the Disch lens. David Lehman singled out "Amnesia" for praise in his essay "You Are What You Read" inNewsweek(January 12, 1987). In an interview Lehman asked Disch about the origin of "Amnesia." "Please don't say 'I forget'," Lehman said. "It's true," Disch replied. "I forget my own life all the time, so amnesia was a natural subject for me."[21]

Theater

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Disch was also known for his work in the theater, both as the critic forThe Nation,from 1987 to 1993,[4]and as writer of two performance works, his meta-historical stage adaptation ofBen-Hurand his controversial verse monologue/poem,The Cardinal Detoxes.Both plays were commissioned and presented by Jeff Cohen and theRAPP Arts Centerin New York'sAlphabet City.Ben-Hurnot only told the story of the famous Biblical novel but delved into the life and times of its author, GeneralLew Wallace.Disch proffers the theory that Wallace pennedBen-Hur,in part, to assuage his guilt over his role in the execution ofMary Surratt.In its world-premiere performance at thePeabody ConservatoryinBaltimorein 1989, it was chosen as a Critics' Choice byTimemagazine.

The Cardinal Detoxeshad a simple conceit: a Catholic bishop has committed vehicular homicide while driving intoxicated and is imprisoned in a monastic "drying tank" where he is sure he is being bugged by the higher-ups. So he attempts to negotiate his release by black-mailing the Church with all of its dirty secrets, big and small. The play was performed at RAPP, located in the former Most Holy Redeemer School, and drew acease and desistorder from the CatholicArchdiocese of New York.An article written byThe New York Times'Mervyn Rothstein got picked up around the world on theAPwire and the play became one of the most notable censorship controversies of the 1990s. After theAmerican Civil Liberties Uniondeclined to take the case, Disch and RAPP were represented byWilliam KunstlerandRon Kuby,and the Archdiocese lost in court. Their response was to lock the theater out of their building and have the director jailed. Fortunately,The Cardinal Detoxesbecame as well known for its literary merits as for its controversy. It was selected for the compilationsBest American Poetry 1994andBest of The Best American Poetry 1988–1997.

In 1985, his short story "The Squirrel Cage", included in his bookFun With Your New Head,was adapted for the stage by Robin Willoughby of Buffalo, New York. Music was composed by Tim Kloth. A single character is held captive by some unknown entity. Law enforcement? Foreign country? Aliens? Is he there for punishment, examination, or entertainment? The performer is surrounded on stage by an unseen and unheard (by him) circle of musicians who play in reaction to his musings.[22]

Poetry

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At South Street Seaport on June 3, 2008

Disch's first published poems, under the byline Tom Disch, were written alongside the stories and novels which made his name in the 1960s. His poetry includes experiments within traditional forms, such as a collaborativesonnetcycleHighway SandwicheswithMarilyn Hackerand Charles Platt andHaikusof an AmPart,while others likeThe Dark Old Housemix stricter and freer form.

Disch's reputation as a poet was solidified by a 1989 midcareer retrospective collection, titledYes, Let's.A book of new poetry,Dark Verses & Light,followed in 1991. In 1995 and 2002, Disch published two collections of poetry criticism. He continued to regularly publish poetry in magazines and journals such asPoetry,Light,Paris Review,Partisan Review,Parnassus: Poetry in Reviewand evenTheology Today(perhaps an odd choice for a long-lapsed Catholic). Disch's poems were anthologized in four editions ofThe Best American Poetry—those edited by John Ashbery, Jorie Graham, A. R. Ammons, and John Hollander.[23]Disch published two collections of poetry criticism,The Castle of Indolence: On Poetry, Poets, and PoetastersandThe Castle of Perseverance: Job Opportunities in Contemporary Poetry.His poetry criticism focuses on what makes poetry work, what makes it popular, and how poetry can re-establish its place in modern popular culture.

Near the end of his life he stopped submitting poetry to literary journals unless the journals asked for his contributions. He preferred to publish his poems in his LiveJournal account. In an interview ten days before his death, Disch said, "I write poetry because I think it is the hardest thing I can do well. And so I simply enjoy the doing of it, as an equestrian enjoys spending time on a good horse. Poetry is my good horse."[24]

Works

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Adaptations based on Thomas M. Disch's works

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See also

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References

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Notes

  1. ^abSchudel, Matt (July 9, 2008)."Thomas Disch; sci-fi writer was part of 'New Wave'".The Washington Post.p. B05.RetrievedJuly 12,2008.
  2. ^abMartin, Douglas (July 8, 2008)."Thomas Disch, Novelist, Dies at 68".The New York Times.RetrievedAugust 4,2008.
  3. ^Stewart, Jocelyn Y. (July 8, 2008)."Thomas M. Disch, 68; prolific science-fiction author".Los Angeles Times.RetrievedJuly 12,2008.fatally shot himself in the head July 5, according to the New York City Office of the Chief Medical Examiner.
  4. ^abcdefghij"Biographical note" in Disch, Thomas M.The Wall of America.San Francisco: Tachyon, 2008.ISBN1-892391-82-1,pp. 244–245.
  5. ^abHeacox, Tom (Fall 1995),"The Dish on Tom Disch",Jump! Magazine,The College of William and Mary,archived fromthe originalon September 14, 2008,retrievedFebruary 29,2004
  6. ^abDisch, Thomas M.The Word of God.San Francisco: Tachyon, 2008, p.68-69.
  7. ^Disch, Thomas M.The Word of God.San Francisco: Tachyon, 2008. p.26.
  8. ^Francavilla, Joeseph (1985), "Disching It Out: An Interview with Thomas Disch",Science Fiction Studies,vol. 37, pp. 241–251
  9. ^Davis, Matthew S. S. (December 28, 2001),Schrödinger's Cake,archived fromthe originalon February 6, 2010,retrievedMarch 9,2004
  10. ^"Book Fare,"SF Impulse,January 1967, p.51-54.
  11. ^abcHorwich, David (July 30, 2001),"Interview: Thomas M. Disch",Strange Horizons,archived fromthe originalon November 3, 2007,retrievedNovember 4,2007
  12. ^Although in his poem "Ode on the Death of Philip K. Dick", published inHere I Am, There You Are, Where Were We(Hutchinson, 1984), Disch writes of Dick: "I scarcely knew the man". In the semi-fictional semi-autobiographicalThe Word of God(2008), he writes that he only met Dick one time, when he visited him in Dick's condo inAnaheim.
  13. ^Miller, Sam J. (September 22, 2008)."Who Killed Thomas M. Disch?".Strange Horizons.Archived fromthe originalon January 3, 2010.RetrievedMarch 13,2010.
  14. ^ab"Who Killed Thomas M. Disch?".September 22, 2008.
  15. ^Galbraith, David; Wilson, Alexander, "Taking flight with Thomas Disch",The Body Politic(December 1981): 26–28
  16. ^Disch's blogatLiveJournal
  17. ^Swirski, Peter(2010)Literature, Analytically Speaking: Explorations in the Theory of Interpretation, Analytic Aesthetics, and EvolutionUniversity of Texas PressISBN0292721781
  18. ^Miller, Stephen (July 8, 2008)."Thomas M. Disch, 68, Eclectic Writer of Science Fiction".The New York Sun.
  19. ^Moorcock, Michael(November 26, 2008)."The Wall of America by Thomas M Disch".The Daily Telegraph.
  20. ^"Tom Disch:" God's Big Giveaway! "".
  21. ^Southwest Review, vol. 73, no. 2 (Spring 1988)
  22. ^"The Squirrel Cage".August 1985.
  23. ^"The Best American Poetry Series | Series Archive".
  24. ^Champion, Edward (June 25, 2008),"Podcast Interview: Thomas M. Disch",The Bat Segundo Show
  25. ^Disch is sometimes erroneously credited as the creator of the TV series due to this novel; examples include the ibooks edition.
  26. ^Mecca|MettleArchivedDecember 28, 2005, at theWayback Machine

Bibliography

  • Gioia, Dana. "Tom Disch," inCan Poetry Matter? Essays on Poetry and American Culture.St. Paul, Minn.: Graywolf Press, 1992,ISBN1-55597-176-8,pp. 193–196.
  • Preminger, Alex, Terry V.F. Brogan, Frank J. Warnke, eds.The New Princeton Encyclopedia of Poetry and Poetics.New York: Princeton University Press, 1993,ISBN0-691-03271-8.
  • Walzer, Kevin. "The Sword of Wit: Disch, Feinstein, Gwynn, Martin," inThe Ghost of Tradition.Brownsville, Ore.: Story Line Press, 1998,ISBN1-885266-66-9:pp. 152–184.
  • Yezzi, David.Thomas M., Meet Tom.Parnassus: Poetry in Review, 1995.
  • "Featured Author: Thomas M. Disch".The New York Times.August 9, 1998.

Further reading

  • Ecker, Christopher.Warum wir alle Pyramiden bauen sollten. Eine Begegnung mit Thomas M. Disch (1940–2008),in: Mamczak, Sascha andJeschke, Wolfgang(eds.):Das Science Fiction Jahr 2009,München 2009, pp. 506–560.
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