Wells Tower’s short stories and journalism have appeared in The New Yorker, Harper’s Magazine, McSweeney’s, The Paris Review, The Anchor Book of New American Short Stories, The Washington Post Magazine, and elsewhere. He received two Pushcart Prizes and the Plimpton Prize from The Paris Review. He divides his time between Chapel Hill, North Carolina and Brooklyn, New York. His first collection, Everything Ravaged, Everything Burned, will be published in March.
Last spring, it started seeming insane that I’d never read Moby Dick, which, naturally, knocked me over. I’d been warned about the unending contemplations of harpoon hawsers, the glutinous curds in the sperm whale’s skull-milk, etc., etc., but I hadn’t braced adequately for the rabid exuberance of Melville’s language. Every sentence is like a maxed-out steam calliope. Melville could herniate himself describing a pencil. Also, he’s hilarious, e.g., that scene where the Pequod’s bearing down on the crippled whale whose maimed rear fin causes the water to bubble, simulating flatus, and Stubb cries, “Adverse winds are holding mad Christmas in him, boys.”
Other books that astounded me included Allan Gurganus’s short story collection White People (which deserves a place alongside the stories of Yates and Cheever for its gorgeously tooled sentences and huge, hurting heart), Samuel Johnson’s Rasselas, The Known World by Edward P. Jones, Lampedusa’s The Leopard, Dusk by James Salter, Charles Portis’s The Dog of the South, Nabokov’s King, Queen, Knave, and The Waste Land: A Facsimile and Transcript of the Original Drafts, which reveals E. Pound’s inspired vandalisms against the early versions.