Trade Secrets contributor, Michael Yee, on Auschwitz angoras, writing violence, and second chances
Michael Yee was born in Pretoria. His story ‘Mouth Full Teeth’ appeared in Short.Sharp.Stories Incredible Journey and he’s thrilled to be included again. He’s had the privilege of working in Joburg, Prague, Frankfurt, London, and most recently as a freelance creative director for an ad agency in the Ivory Coast. He looks forward to living in a world where things are more equal. Joanne Hichens, curator of the Short.Sharp.Stories Award, recently conducted an interview with Michael during which they discussed the cruel history behind his entry, having to stay detached while writing scenes of violence, and why short stories shouldn’t be age-restricted.
What was the initial spark for your short story, ‘Satins and Giants’?
I received a horrific video about the angora fur trade from PETA (People for the Ethical Treatment of Animals) that I wanted to write about for this year’s competition.
Your story is a hard-hitting exposé of your protagonist, Achim, who gets caught up in a cruel family system as well as the taint of the worst of European history… How did you marry these ideas?
I would love to take credit for that, but really, once the protagonist appeared it was just a case of staying out of his way. He showed up after some digging revealed that Himmler kept secret angora farms in Auschwitz, using the fur to line the jackets of SS officers. In fact, the photo at the beginning of ‘Satins and Giants’ are of rabbits raised there.
The story, influenced as it is by Nazi war crimes, highlights this evil in a visceral way. Was it difficult to write?
Having to stay detached while rewriting those scenes of violence was really tough, many nights I went to bed seeing double.
Your protagonist, Achim, perpetrates a kind of unspeakable cruelty to animals. It has been suggested that your story should come with a ‘trigger warning’. Do you agree with this? (Or are we too molly-coddled as readers?)
I guess movies and music albums use warnings, but that’s a legal requirement to protect minors, which is not the case for short stories, so I would tend to disagree. I hope nobody is ambushed by the cruelty though, as I tried to avoid that with a pretty dark tone from the start. (Having said this: I’m even more thankful now that the story was included in the collection, given the subject matter.)
Did you feel you were taking a risk with this subject matter, a risk which might exclude you from publication?
Definitely, I was nervous when the time came to submit and with so many excellent writers with great stories to tell, the risk of not making it always looms large. But a year on, I’m very grateful to have a story included that I cared about in the collection.
Back to Achim. He does find some kind of redemption. Was this important to you as writer?
Yes, I’d like to live in a place where people get second chances, no matter how badly they messed up. Plus, after everything Achim had been through, he deserved a break. He had earned it!
Is the setting an echo of the concept that ‘wealth corrupts’? Yours is a fascinating scene …
Very much so. After realising what this story was about, it guided many decisions: the setting of structural rot, mansions overlooking other decaying mansions in ‘Sol Kerzner’ country in Johannesburg, and props, dialogue, Achim’s relationships, his motivations. The order that this brought was comforting because the protagonist was so chaotic!
What writing Trade Secret would you like to share?
Be kind and patient with whatever arrives on the page.
- Trade Secrets edited by Joanne Hichens
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