Josh Weil, author of the 2009 novella collection The New Valley (Grove Atlantic) and a National Book Foundation “5 under 35” Award recipient, saw his first novel, The Great Glass Sea (Grove Atlantic), published this summer. Moving away from the stark landscape of the Appalachian Mountains valley of his novellas, Weil’s The Great Glass Sea takes place in a near-future Russia, one where giant stretches of farmlands are covered by an ever-expanding greenhouse lit by space mirrors, keeping the crops beneath in perpetual daylight for the sake of productivity in Russia’s new capitalist scheme.
In this alienating and unforgiving setting, twin brothers Yarik and Dima, who were once inseparable in childhood, find themselves taking vastly differing paths in adulthood, growing increasingly distant as they navigate antithetical ideologies and lifestyles. Steeped in Russian folklore, the novel reminds the reader of the pressure of nostalgia on the present and the future, and draws a breathtaking picture of familial conflict, moving with ease between the haunting richness of the mythic and the piercing clearness of realism. We spoke to Weil via email about his work.
ZYZZYVA: To start, let’s talk about your writing process with The Great Glass Sea. What do you find yourself working toward in a novel that you don’t find yourself doing in a novella? Is it merely a question of length—a looking further and wider in your scope of the narrative, character development, etc.? Or is there some particular element in its craft that you believe can be achieved in one form and not the other?
Josh Weil: I feel very strongly that the experience of writing a novel is different from writing a novella and vastly different from writing a short story. All the forms offer their specific challenges, of course, and, with the novel, there were a couple difficult ones for me: First, how hard it is to hold the story—the whole dang thing—in your head at once; it’s nigh impossible. It’s very hard to know the story well enough (because of all the shifting and complicated threads) to get from the beginning to the end without going far astray.
Because I’m a writer who values the first draft tremendously (I feel that’s where the heart of the thing lays) rewriting is especially tough for me. Not revising or editing; I have no problem shaping what’s already there. (I love to tighten up a scene, pare out what’s not working, finesse a moment, hone a sentence.) But I feel like I’m losing something essential when I have to wholly rewrite a scene or even entire story arc. Still, the complexity of narrative (and its long arc) in a novel makes getting it generally right on a first draft nearly impossible.