Fiction, which is made up, can tell us the truth behind the lies: Gary Shteyngart

Do you still watch a lot of television?
Some good shows on the air now. I love the animated series Bojack Horseman and Big Mouth.

Like most people who’ve read Super Sad True Love Story (2010), I’m curious to know what, as an idea, came first — Lenny and Eunice’s love story, or the (quite frankly, terrifying) dystopia that it is set in?
They both happened around the same time. The love story was always in the back of my mind, but I had a feeling that the Western democracies were about to fall apart. And so it happened!

To many of your readers, Super Sad True Love Story’s vision of the near future seemed prophetic. In the seven years since the book came out, do you think the world — and America, particularly — has become more like the world you described in your book?
We’re getting closer! On some level, the book was about how social media would enable a new stupidity and intolerance, an endless series of appeals to our basest instincts. I’m not a luddite, but I believe we are ultimately unable to harness this new technology for good, at least in countries like the US and Britain.

What is the role of fiction in a “post-truth” world?
Strangely enough, fiction, which is made up, can tell us the truth behind the lies.

The origin of your memoir’s name is funny but also a little heart-breaking. How many working titles did you go through before selecting Little Failure (2014)? Why did this title seem right to you?
Ha! ‘Little Failure’ was my mom’s nickname for me. It’s funny because I partly grew up in the US surrounded by fellow Russian immigrants, but also immigrants from Korea, India and so on. Our parents’ idea of making sure we worked hard and succeeded involved some hilarious name-calling, not to mention endless pressure. I guess it worked for many of us. But at a price.

How difficult was it to write this memoir? What does it take to write an honest (as far as possible) account of oneself and one’s family?
Well, if you’re going to write a memoir, you have to tell the truth. That was tough, but my previous fiction had explored most of these themes, so the material was hardly new to me.

One can see aspects of you and your life in the protagonists of your novels. Is it even possible to write fiction completely removed from oneself and one’s life and circumstances?
My new book is, theoretically, not about me. It’s about a hedge fund manager and his wife (who happens to be the daughter of Tamil immigrants). So I’m trying to think outside the usual Russian stuff, I swear.

You have a reputation for prolific blurbing. Of all the blurbs you’ve written, which is your favourite? Which took the most work?
Oh, I can’t pick a favourite. They’re like my many children. I hope they do well in the world and call me once in a while.

What is the most difficult thing you’ve had to do as a writer?
Many writers are not meant to be on stage, but rather cowering in their garrets. Going on panels and doing readings is very scary for me. Luckily, my shrink prescribes a medley of drugs.