Kate Inglis

I come to oil country with a book about radicals who wish for the end of pipelines. But that's not what it's about. It's the friction point of prosperity and concern, ability and disability, the loss of bodily presence and the gain of ghost messages. It's misplaced outrage and well-placed courage. It's banjo song and smoke in your eye. Stories hinge there, swinging this way and that.

The dying bees, the Antarctic melt, the mountains of old tires, the incessant toxic belch of factories that make Batman bobbleheads for Happy Meals. Off-gassing couches! Cancerous tinned tomatoes! Imprisoned killer whales! Our breastmilk is poisoned. We live absurdedly, ridiculously. OUR BREASTMILK IS POISONED. Try and explain even one sliver of it to a kid, just one angle of a thousand, and you'll see the face of the world's most incredulous and urgent WTF.We have little to recommend us, and we know it. We shrug.Rasmus Krook is the Captain of the Griffons. He doesn't shrug.

_There__ forty-two thousand jobs, near ten thousand of __m got by people like us. Everyone__ gotta eat. Industry feeds __m. They figure Little Bear here__ gonna clean it up." He squeezed his baby, a dimpled plump girl with tufts of jet-black hair."Paa paa ba baaa!" she said. It was time for a nap.Lou sipped from his thermos, and Little Bear__ eyes drooped, and Missy remembered the voice of Rasmus Krook. 'The people will pay with their whole being: physically, mentally, ideologically, spiritually, with their land, their soul. And not just country people. Not just native people. Poison will flow through villages, towns, and cities and not stop. We must rise up. We must disrupt the system. Capitalism is a deception.'"You can help pirates," she said, because that__ the only answer she knew. Lou lifted his coffee in salute, and Missy stood up to jump.

It's easy to want to be an author. You see it in your mind with sun streaming through windows and a Siamese cat purring on an antique rug and a little pellet stove and somehow the bills are paid and there's wit and self-sufficiency and divine inspiration seeping through walls and pores. And then, in your mind, you skip ahead to a book launch party and more Siamese cats.When you graduate from wanting to working, you say, "I am going to flesh out this idea and write the whole thing down, and rewrite it, and rewrite it again, and rewrite it unendingly, and I'll have no real assurance of when it'll be good enough, but at some point I'll pitch it to someone who will decide if I'm delusional or not." The optimism and the ego-bruising, unsexy work needed to follow through feels unending.

Beautiful publishers say beautiful things and then We're sorry, but no... and then more beautiful things. It's a shit sandwich with branston pickle and melted gouda.I read it out loud to the kids. I stick it to the fridge with the others. Some writers do that because it turns their crank to have a Wall of Publishers Who Passed And Will Someday Regret It. I don't. Each one is, really and truly, a gift. We look at them and the boys and I talk about rejection, all kinds of it. Creative, karmic, romantic. Nothing works out until something does.

When you've got creative momentum, the last thing you want to do is stop. I'd write and write and wake up with my head slumped over and my fingers still on the keyboard and the last sentence trailing off like eeeeeejjjjjjjjjjjjj . . . Then I'd finally crawl to bed. Mornings were rough, but I got used to it. It was invigorating to write a couple thousand words while the rest of the world was asleep. More invigorating than rest.

There's a magic to letting a story and its people unfold with witchcraft and late nights and walks in the woods. You don't lead a story. You follow it.

Jack Kerouac died after throwing up blood. The malt liquor. Then that other guy who shot his wife in the head. Burroughs somebody. And I wonder about literary figures. They're all drunk and staggering and haunting people today, I bet, still muttering and ranting in disassociated lines.Or, I'm wondering about a middle ground with wooly blankets and nubbly cardigans and nobody shot in the head. Where yes, you are uniquely mad. But functionally uniquely mad. Endlessly absorbed but in the mildly scattered kind of way instead of in the crap-I-shot-my-wife-in-the-head kind of way. Unable to dedicate to another human being only in occasional fits.Roald Dahl says you're a fool to become a writer, your only compensation being absolute freedom but then I'm not so sure about that. He bought a wagon from a Romanian gypsy and his kids played in it and I think he had more in the way of compensation than absolute freedom. He's got a point, though, even if he reached a point where his own point no longer applied to him. He had no master except his own soul, and that, he was sure, was why he did it.