Airships

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All of us who are writers take heart from the confident expectation that truly wonderful, provocative, pleasure-giving writing will eventually get its due. In thirty-three years of writing stories and novels, Barry Hannah has made a signal and inimitable contribution to the life of the short story and to the vivacity of American imaginative writing. I’m positive that nobody writing stories in America today doesn’t know Barry Hannah’s work, and that everybody writing has been affected by it in one way or another.

This does not mean that Hannah’s due is to be that most unloveable of things, a writer’s writer — which means that you’re always broke and that only other writers read you, when they get your books for free. Barry Hannah’s work has stayed in print and widely read since the celebrated publication of his first, unforgettable book — a novel—Geronimo Rex, in 1972, a critical affirmation corroborated by readers and permanently forged by his first collection of short stories, this very book, in 1978, the likes of which the American reading and reviewing public had simply never seen before.

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