Cela fait maintenant 3 ans que Steve Rasnic Tem n'a p&as été traduit en France.

Avec Mélanie Tem, il est en interview à propos de The Man on the Ceiling sur le blog du prix des Shirley Jackson Awards

Extrait : "
What were some of the difficulties in combining real life with fiction?
Melanie Tem : The underlying creative reason for using that combination technique was to say more about the themes and events (factual and imaginary) than either straight-ahead non-fiction or pure fiction could have done. So the ongoing requirement was to find the right balance, the most illuminating angle, so we could tell the most truthful truth. We also had to grapple with the question of when we were being self-indulgent and when we were being creatively honest, and the converse: when were we withholding something out of timidity, and when did the story demand a less direct approach?

Steve Rasnic Tem : I’d say giving up one’s natural urge to self-protect, or at least severely compromising it, was the most difficult part for me. I’m generally willing to do anything a piece demands. In this case the piece demanded that I not worry about how I, personally, was coming across to the reader—that was difficult to swallow sometimes. I had to just grit my teeth and push through.

One of the stranger aspects of this writing experience, and it’s in keeping with the goal of the book itself, was that throughout the writing of THE MAN ON THE CEILING I never felt as if I were writing fiction. The childhood and young adult delusions and fantasies were the very ones I had experienced at the time. They were an important part of my reality. I grew up fairly isolated in a town of 600. I wasn’t allowed to go out much, even within that small community, and because of my father’s alcoholism people rarely visited. So much of my experience was inside my head. To call that experience fiction would have been to call a large segment of my life fiction.

As much as anything else, TMOC is also about spiritual experience and the spiritual aspect to fiction. Is spiritual experience fiction? I would tend to say yes, but with the caveat that it’s fiction of a peculiar sort, in that it’s fiction created because no other narrative tools are adequate to capturing the experience you’re trying to illuminate. I’d say that spiritual fiction is as valid and as important as everyday reality. But that its validity is most sound within a personal context. Once you have a number of people authoring that spiritual fiction as a group collaboration and proselytizing it to others as something that should be their fiction as well, things become a bit dicey. I get antsy inside churches, or around large groups of people who all seem to believe the same things.