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Barry Hannah BARRY HANNAH
The Art of Fiction No. 184
Interviewed by Lacey Galbraith
Issue 172, Winter 2004
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From the Interview
INTERVIEWER
You’ve said you learned something from your drinking. Most people wouldn’t admit that, that it got them somewhere. What was it you learned?

HANNAH
It’s unfortunate that I learned something through booze. Everybody does, but ultimately on the level I was using, it was sickness. Jail, hospital, DUIs. Briefly it worked, to be frank, but that was on three beers and exactly where, if I was to appear on television today as a spokesman for anti-alcohol, I’d say, Listen, if you need more than three beers, worry.

INTERVIEWER
So it got your creativity going?

HANNAH
Right. Gosh, I hate to publish this, because young people will do anything it takes. But at first, yes. Teaching at Clemson was very hard work. I’d come home, put down the babies—and I was trying to be a good father and I think I was—but then that freedom, it was astonishing, my God. Every man or woman who comes home and takes a glass of wine or a couple of hits of bourbon on the rocks knows what I mean. Just this total loosening and release from the white noise of the day, so that you enter another zone. Instead of going to sleep I would hit the typewriter and sometimes write until four and teach my classes very haggardly. But I was often taught that everything is worth it for art. Everything. It was a cult. I remember Bill Harrison saying, “Don’t play with your child that much.” In other words, don’t be that good of a father. Get to that book. The ideal was Flaubert, who labored seven years on Madame Bovary and sweated out every word, le mot juste, the right word. So yeah, I learned things that way, but on the other hand I would have learned things had I been sober.

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