Marty Young catches up with Hannah Tinti, author of The Good Thief (Headline Review 2008), a noir fairytale with a Dickens meets Dahl meets Lemony Snicket style.
When the world gives you nothing, you take what you can.
Young Ren is missing his parents and a hand, and doesn’t know what happened to any of them. He is beginning to fear that he will never be claimed from his cold New England orphanage; that his dream of a family – of a life – will come to nothing.
But one day a glamorous stranger arrives at the orphanage. To Ren’s astonishment, the handsome, charming Benjamin Nab says he is his brother. He says he has come to bring him home. And even when his stories grow more and more extraordinary, when he puts Ren’s life in danger again and again, and leads him into theft and grave-robbing, Ren will not abandon hope. He believes that one day all the hunger, danger and unwanted excitement will be worth it. That he will find a family, at last. But trusting Benjamin is another story…
- from Hachette Livre
Marty Young: Hi Hannah - Firstly, thanks for agreeing to chat with me. I thoroughly enjoyed
The Good Thief – it was a delight to read. The story could have been very dark and grim though—grave robbing, murder, torture—but it wasn’t. Was there a reason for keeping the style light?
Hannah Tinti: I think it’s a writers’ job to choose the right details, rather than go overboard and throw everything and the kitchen sink on top. One good description will go a lot farther than a page worth of expletives. That said, I did purposely try and go easy on some of the more gruesome details. This stance is one I’ve come to over the years, after doing a lot of editing of other people’s work. I wanted to keep the shock value down, so that it wouldn’t stop anyone from reading. I also wanted to give Ren a happy ending, after all the hell I put him through.
Marty: You’ve created a swath of troubled, unruly characters here, from murderers to thieves and drunks, yet at the same time most of them have an underlying goodness or morality about them, even if perhaps a bit skewed. Are we going to see them again in a sequel?
Hannah: I’ve got some ideas of a second novel that would take place within the same world, but I haven’t written enough yet to say that’s definitely what I’ll be doing next. Once I get to 100 pages or so, I’ll let the cat out of the bag.
Marty: There was some personal inspiration behind the character of Ren, the one-handed orphan, right?
Hannah: Many people have asked why Ren is missing his left hand. Part of the inspiration for this is from a childhood accident that I had, when I was about five years old. My kindergarten was in the basement of an old church. At recess, we would play in the graveyard (this may seem rather gothic, but in New England, this is normal). One day I tripped and fell on an old grave. The headstone was broken, and a piece of slate went through my left wrist. I basically slashed my wrist open on a grave (I know, even more gothic). I was rushed to the hospital and they fixed me up. I have a scar there now, and full use of my hand—only a bit of nerve damage. But the accident definitely wound its way into my subconscious, and found its way out again, through this character.
Marty: Pilot and the Hat Boys are quietly ominous characters. You don’t really tell us a great deal about them, but rather leave them as pure henchmen. Was this your plan all along or did it evolve from the story’s style?
Hannah: I’d seen pictures of old gangs from the five points section of New York City in the 1800s, and they would wear the same hats, the same way gangs these days wear colors. I twisted the idea to follow the theme of resurrection, which is woven throughout the book. So in
The Good Thief the hats are all different, but every time the man who wears one is killed, the same hat is passed down to another man. I had this image of the hats basically growing new people beneath them, like pod-people. That’s why I have the Top Hat change his face, but not the hat. I think it makes the men more terrifying.
Marty: How much did growing up in Salem inspire the content of
The Good Thief?
Hannah: Growing up in Salem influenced the novel a great deal. It’s a very historical city, with the witch trials, and Nathaniel Hawthorne. It’s also a harbor town, and did a lot of shipping and trading. The area I grew up in has many old houses from the 1700s and 1800s. On them are plaques, saying when the homes were built and for whom. Whenever we dug up our small garden, we would constantly find things in the earth—broken china plates, clay pipes, and old coins. All of this made it easier for me to imagine the time period, and the people who lived in it.
Marty: What can we expect from Hannah Tinti next?
Hannah: I’m exploring the possibility of writing a sequel to
The Good Thief, that would shift the focus onto different characters.
Marty: Finally, who did you grow up reading? And who do you enjoy reading now?
HT: I grew up reading Dickens, James Fenimore Cooper, Robert Louis Stevenson, and also Tolkien, C.S. Lewis, and the Brontës. Adventure stories. I think that’s why I ended up writing one myself. Nowadays there are so many different writers that I enjoy. I’m always discovering new ones. My tastes are wide and eclectic. A great book I recently read was
Northline by Willy Vlautin. It’s completely spare and beautiful.
About the authorHannah Tinti grew up in Salem, Massachusetts and is the author of
Animal Crackers. Her work has appeared in publications including
Story,
Epoch,
Alaska Quarterly Review and
Best American Mystery Stories 2003. She earned her M.A. from New York University's Graduate Creative Writing Program and has been awarded residency fellowships from, among others, the New York State Writers Institute. She is currently the editor of
One Story magazine.
Marty Young wishes to thank to Louisa Dear at Hachette Livre Australia for making this interview possible.