In what ways does the concept of convergence play a role in your writing life &/or writing process?
Convergence plays a crucial role in my literary practice, because I come from a dramatic writing and film production background but have veered professionally into fiction. Despite this shift I haven’t left behind any of the impulses or formal approaches that were part of my playwriting or moviemaking years, instead I’ve found ways to incorporate these approaches into my prosaic work. For instance, one of my books consists of nine stories that all started out as scripts. In transforming them I found a unique mélange of style that has come to be my driving voice as an author. I did leave one story in play form, to tip the hat a little, but the fragmentation and immediacy of screen and playwriting runs through each of the pieces in the collection, no matter how much the convergence has been disguised.
Most importantly, I love and experience work of every genre and form, and so I never put any limitation on how songs, performance art, tweets, whatever might influence or appear in my creations. Sometimes the assemblage can clash, and sometimes the work can be better for it.
HENRY HOKE wrote The Book of Endless Sleepovers (released in October from Civil Coping Mechanisms) and Genevieves (Subito Press prose contest winner, forthcoming 2017). Some of his stories appear in The Collagist, PANK, Gigantic and Carve. His plays have had productions on the west coast and at the Edinburgh International Festival Fringe, and have been published by Snail Press. He co-created and directs Enter>text, a living literary journal in Los Angeles.