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Steven Dunn
"the way I want to be in the world"
On this page:
Story
Writing samples
Short film
TED Talk
channeling the living room
Steven Dunn grew up in Kimball, in McDowell County, in a chaotic family living in a little town the coal industry had abandoned. Born in 1981, he was
not a book-reader. “To tell the truth,
back then, I thought books were
mainly something white people did,”
he said. “I never heard of any black writers.”
​
Dunn’s first book, Potted Meat, draws from those growing-up years. Its main character, a spunky boy, must contend with poverty, an abusive stepdad, beatings, alcoholism, a dying grandma, racism, drugs, rats and all kinds of ugliness. Even so, like kids in the
Grimm fairy tales, the boy manages to keep his sense of humor and find “soft moments,” moments of beauty and humor.
​"Grandma thinks I’m her husband again. He died before I was born.
She says to me, Remember when you came home from the mines all dirty and took me dancing. Yeah, I say, we had big fun. And that one gal, she says, what’s her name, you know, that slew-footed heffa, the one starin at you. Aw c’mon now, I say, that was nuthin. You know I only got eyes for you.”
​
Reviewers say things like,
“Dunn’s remarkable talent for storytelling collapses the boundaries between poetry and prose, memoir and fiction.” (Nikki Wallschlaeger)
​ and
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“Some folks need a hundred pages to get you in the gut. Potted Meat contains 101 pages of miniature texts that keep tapping the nails in, over and over, while speaking as clearly and directly as you could ask. A childhood of confusion and abuse blossoms into military conscription like watching a life pass before your eyes. This thin thing is flooded with power.” (Blake Butler, Vice Magazine)​

Born in 1981, Steven Dunn grew up in Kimball, McDowell County, WV. When he was nine, in 1990, 550 people lived in Kimball, by Census count.


First day of his dream job: teaching visual artists how to write, exploring the parallels between the two.

glimpses from
Potted Meat
The chapters in both Potted Meat and Water & Power are short glimpses that add up to a powerful mosaic of a boy's life. Here are six of those glimpses, plus a video based on a Potted Meat chapter.
Video

In 2020, Foothills Productions released an 11-minute video drawn from one of the chapters of Potted Meat. Here's a link.
Six short chapters from Potted Meat:​
Draw
Every day after me and Grandad sit on the porch and eat fried green tomatoes, my cousin teaches me how to draw. He makes dashed lines in the shapes of skyscrapers, men with gold chains, girls with big breasts. I connect the dashes until the picture is complete. My cousin tells me to get a new sheet of paper and draw what I just traced. I do. He says, You need to work on your buildings but you draw some good titties.
Grandma is in the living room. She usually smells like cottage cheese. But today she smells like chitlins. I eat so much vinegar with my chitlins my lips turn white. Grandma lights a long cigarette and stabs herself in the stomach with needles. She says it’s insulin. She listens to a gospel song and sings, I’m coming up on the rough side of the mountain. My cousin says, She plays that goddamn song every day. She does. I like it. I ignore him and keep drawing titties.
The next day after me and Grandad sit on the porch and eat fried green tomatoes, my cousin gives me another lesson. He makes dashed lines in the shapes of a man with a knife, a woman in a bathtub, a keyhole. ​​​
Giving his son, Ever, 9, a loving childhood
Kimball, West Virginia



Samples from Potted Meat are on the right.
Water & Power is composed of so many different kinds of material, it is near- impossible to
accurately excerpt.
Read it! Amazing originality and insight
In his second book, Water and Power, also with Tarpaulin Press, he presents a unique, often darkly funny, deep-dive view of the Navy as a whole, as seen through the eyes of enlisted men, this time including drawings and photos.
Buzzfeed News review: “Traversing both horror and humor, Dunn imbues his prose with the kind of duality that is hard to achieve, but pays off.”
Those first two books won him a coveted national Whiting Award, with a $50,000 honorarium. The Whiting Award Selection Committee wrote that, “Formally inventive, his work is a finely judged orchestration of different perspectives, mixing fiction with journalism, poetry, visual art. On every page, you feel the inquisitive and exhuberant persona of the author.”
Channeling the living room
He didn’t read many books, growing up. So where did Steven Dunn get his “remarkable talent for storytelling?” “That’s easy,” he said. “When I first started writing, I’d just channel my living room.”
His living room was Story Central when he was a kid. Especially when the family TV wasn’t working, they’d gather in the living room and tell stories. “The whole family’d be there, telling stories, jokes and stuff, whoever was there,” his grandma and grandpa, his cousins, aunts and uncles, grandpa, neighbors, chairs pulled in, talking over top of each other, hollering from another room, arguing, talking about who had died, telling coal camp stories, talking about working for white people, gossiping and lying about people, telling different versions of the same story.
There were other voices. Sundays, little Steven went to church and soaked in the preacher’s cadence and stories. The hallways at school were laced with sexual, racial talk. Plenty of afternoons, his grandpa took him down to the
pool hall and set him at the bar. For hours, he’d hang
around and take in whatever those men said about car repair, women, arrests, moonshine, politicians, sex, whatever. He draws on all those voices in Potted Meat.
Each chapter is one to three pages. Each offers a vivid glimpse into the main character’s life. He doesn’t shrink away when something is ugly. Like a mosaic, the glimpses build into a bigger picture of a world many people have blessedly never seen. The book’s structure – one glimpse after another - “is like Japanese flower arranging,” Steven Dunn said. “One flower leads to the next.” He learned
about Ikebana - Japanese flower arranging - in Japan. The art is in the arrangement of the pieces.

Inspired by Japanese
food presentation, Steven loves to make food art out of ordinary ingredients.
After Steven got out of the Navy, he got married, had two kids, eventually got an MFA in writing. Today, he teaches young visual artists how to write at Denver’s Rocky Mountain College of Art and Design.
​
He still writes in his natural
storytelling voice. He likes
plain English, in his style.
“I told them when they
interviewed me, that I would
teach in my own voice and
write in my own voice,” he
said. “For years, I was basically
told at school that I needed to
talk and write like a white person,”
he said. “I can do that, but now I don’t need to do that.”
​
He wants to show people of all colors that their stories, whatever they may be, can be converted into literature, told in their own voices. “I especially want to reach young black people. And older black people too. My concern is, young black people who, like me, maybe felt excluded from literature or writing."
​​
“I especially want to reach young black people. And older black people too. My concern is, young black people who, like me, maybe felt excluded from literature or writing."
​
“I’ve gotten good feedback from that when I go to colleges and do readings, like a lot of the black students will come up afterwards and say, ‘I didn’t know we could write in our own voices. I didn’t know we could do this!’
​
“They felt like they wanted to write, but maybe they were having trouble at school with that. And then I come through, and they’re like OK, I’m on the right path. I can write about my friends and family in their language. When I did a reading at the Institute of American Indian Arts, young native Americans came up and said Potted Meat feels like their reservation.”
​
He recently had a teaching residency at Appalachian State in North Carolina. He fondly remembers a teacher, Ashleigh Bryant-Phillips, who told her rural students, “Hey kids from Appalachia, you can write in your own voice too.”
​
“White country people are encouraged to not write like country people, to not be hillbillies,” he observed.
Sometimes he hears from West Virginians. This past spring, he got a beautiful hand-carved box in the mail from a white West Virginia woodworker, with a note that said, ““This box is one of 15 that I have made to send to folks who have deeply impacted me with their work.”
“Despite not being much of a reader,” he wrote, “I picked up a copy of Potted Meat. I can’t tell you enough how much it has meant to me. For the majority of my life, I have struggled to make sense of my upbringing… Potted Meat had me reliving many of my experiences. When I wasn’t laughing, I was crying, and in some weird way, it made me feel more like I was a little more normal.”
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​He keeps in touch with family and friends in Kimball.
When he has a reading anywhere within driving distance, his cousins and friends from Kimball show up. Here, cousins came to see him readhis writing at William and Mary College.
Recently, he found the first page of a story he wrote in third
grade, “the only story I remember writing in school.” In
that story, boy makes friends with a dragon with bad eyesight, then the two of them travel the world, demanding moonshine: moonshine in Africa, moonshine in Japan, etc.
“That’s what you get when you mix a boy who likes Puff the Magic Dragon in with stories from the pool hall,” Steven said.
“I try to keep my life creative,” he said. He recently taught a workshop with his 23-year-old daughter Jada, a visual artist, on the intersection of visual art and writing. He’s working on his fourth book, which includes collaborations with people from all over the world, including some of his cousins and friends from Kimball.
“I need them involved,” he said. “They keep me true to myself.” That voice in Potted Meat? “That’s the voice of my grandma,” he said. “I don’t ever want to lose it.”
Steven treasures the box. He keeps "papers that mean something to me" in it.
Soft moments, dragons and moonshine
Steven actively looks for the “soft moments” that make the hard moments in life bearable. Getting that box was a soft moment.

With wife Tara and son Ever


Steven's TED Talk is called "The Secret to a
Happier Life? Look for Moments of Softness." Click on the picture to watch it.
I don’t want to trace these shapes. He grabs my hand and makes me. He tells me to get a new sheet of paper and draw what I just traced. I don’t. He grabs my hand again. He says, You need to work on your stab wounds.
I run through the house crying. I want to tell Grandma but she’s stabbing herself in the stomach. I run outside and tell Grandad. He stops playing cards with his friends and takes me in the garden. Here, he says, have a little wine. I need to tell you something, Grandad explains. When your cousin was five he saw some shit that messed him up. So dont worry too much about it, he been drawing that shit for years. Grandad tells his friends, Card game canceled – gotta fry some tomatoes for my boy here. See you suckas tomorrow, and dont forget my goddamn money, nigga.
Color
In class, I sit behind Rhonda. She always raises her hand. I get to stare at her arm. I kick the back of her seat sp she can turn around. I can look at the side of her face. I keep going to the pencil sharpener in the front so I can look at her eyes when I walk back.
​
I draw two pictures the same. One for me, one for Rhonda. I draw us holding hands in front of a house. Out of the chimney comes smoke shaped like hearts. A big puffy apple tree beside the house. On the tree is a heart with our initials. I start to color. Rhonda first. Hair yellow, skin peach. I give Rhonda the picture. She smiles.
​
I run up the steps of my house with the picture flapping. My mom looks but don't say nothing. She shows my stepdad and says, Look at this shit. What the fuck, my stepdad says. He shoves a black crayon into my hand. His fat hand grabs mine and makes me color over Rhonda's yellow hair. Same to her face with a brown crayon. He says, now that's better. My mom says, Shonuff is. ​​
Dust
My mom and stepdad have a baby so we move in with my stepdad’s mama. The house is built on the side of a hill. The house is leaning. The house has a kitchen floor that is slanted with the tops of nails pushing through brown linoleum. The house has a basement with a coal furnace. The house is white with two bedrooms upstairs, a bedroom and kitchen and living room downstairs. My mom and stepdad and the baby sleep in the living room. LaShawn and Jamar are my stepdad’s niece and nephew. They sleep in the bed with my stepdad’s mama in the bedroom downstairs. In the same room me and my sister sleep on the floor. Nobody sleeps upstairs.
When I put coal on the fire before bed a rat waddles along the wooden beams and stops to look down at me. Now while I’m trying to sleep I hear the rat scratching and chewing wood under the floor.
At five my stepdad yells to wake me to put coal on the fire. He says I didn’t fix it good enough last night at one. He says if I fixed it good enough I could sleep till five thirty. I walk outside and go to the basement. I shovel two buckets of ashes from the bottom of the furnace and dump them over the hill. Then I fill seven buckets of coal and dump three on the fire so it will last until I come from school.
Me and my sister, and LaShawn and Jamar, come from school. My stepdad yells because the fire went out. He said he and his mama and the baby was cold all day. That I was trying to freeze them to death. LaShawn and Jamar ask me why can’t I fix the fire right. My mom tells me I better get my shit together. I go to the basement and the fire is out. I put too much coal on and smothered it. I need to build a new fire.
There’s an old house next door where I get dry wood. With the axe I chop brittle walls, kick through walls, chop up the floor. Wake the rats. Their nest is tangled straw, sticks and dry leaves. In it is chewed-up Bible pages. Empty can of potted meat. Cracked pork-chop bones. Half-eaten Barbie head.
At five the next morning I put three buckets of coal on the fire so it will last until I come from school.
Who Knows
We have one homeless man in our town. Everybody calls him the Man in Black. Because that’s all he wears is black, most of the black is coal dust, plus he is dark skinned. He is really tall and his dirty hands look like bear paws and his big boots thud the ground with each stride. He lives in a saggy brown canvas tent next to the creek at the bottom of the mountain. In the winter you can see the blue flame from his kerosene heater glowing inside the tent. He never talks to nobody.
I see him in the store sometimes buying bread and baloney with a hundred-dollar bill. Thats because he gets a crazy check, they say. Some people say he went crazy in the war. Some say he just went crazy. Some say he sold his soul to Satan. My uncle says he is a righteous revolutionary brother who spits in the man’s face. My grandma says he used to be married to a white woman and she took everything he had and now he don’t want shit to do with nothing white, especially no stankin-ass white folks.
When I’m behind the Man in Black in the store he stinks so bad my stomach hurts. He turns around, looks down at me, sees me frowning and covering my nose, and says, I dont smell no worse than ya drunk-ass uncle.
Two Times Two
My uncle, Mom’s brother, picks me and my friend Mack up from school early. Mack’s dad is driving. He says we gotta go to Pocahontas, Virginia to handle some business. He stops at the filling station. My uncle gives me and Mack some money and tells us to buy a big bag of Funyuns and MoonPies and Salem 100’s and a bottle of Wild Irish Rose, the big bottle.
Mack’s dad speeds downhill around curves while we slide back and forth across the backseat and raise our hands like on a roller coaster and we say, Whoo, faster faster. He goes faster. We pass around the Funyuns and eat our MoonPies. Mack says, Dangit, Dad, we aint buy no sodas, I’m thirsty. My uncle hands the bottle of Wild Irish Rose to us and says, Dont drink too much, this aint no Kool-Aid.
With both hands Mack tips the bottle to his lips and says, Ahh, it taste like Kool-Aid. He gives me the bottle. It do taste like Kool-Aid, I say. They laugh. I give the bottle to my uncle, he drinks, gives it to Mack’s dad, he drinks, gives it to Mack, he drinks, gives it back to me. It goes like this until we get to Pocahontas.
We cross train tracks and park behind a brick building. The roof is caved in and windows half busted out. Poison ivy crawls up the side. My uncle says, You turkeys hold tight, we’ll be back in a few ticks. Mack, I say, look at your dad. We make fun of Mack’s dad because he has a jerry curl tied in a baby ponytail and wears the same thing every day: a red-and-black track suit and black Chuck Taylors. His pants are high and you can see his white socks. His stomach sticks out and he never wears a shirt under his jacket. He wears a gold rope chain with a bunny on it resting in his curly chest hair. Mack says, So, look at your uncle. My uncle got on blue jean bell-bottoms with a brown leather jacket. A blue-jean floppy hat. He don’t have a shirt on under his jacket either. They walk to a house with white paint peeling off. Half of the porch droops. A big Doberman is tied to a tree in the dirt yard. It keeps barking and running until the chain yanks it back.
Mack says, Lets see if we can bust out the rest of the windows. We throw rocks at the top windows. Mack is the first one to hit glass. He says, Thats why I’m the pitcher and you play leftfield. So, I say, I betcha I’ll hit way more than you. We throw more. He keeps hitting glass. I don’t. Mack says, I wanna practice my fastball. I find a broken broomstick next to the brick building. Mack collects a shirt-full of coal and rocks from the train tracks.
Mack throws a piece of coal. I swing, but it feels real slow. I’m getting a little woobly. See, Mack says, I told you my fastball was fast. Mack raises his leg to pitch but he woobles a bit. He laughs, I dont know whats wrong with me. He throws a piece of coal high in the air. I swing. Hit. It explodes. Dust powders my face. Mack laughs. Me too. Mack throws another. I miss. Mack says, You like Rhonda dontcha. Hell no, I say, who told you that. I seen that picture with yall holding hands, he says. I aint draw no picture of nobody, I say.
Whats taking them so long, I say. I dont know, Mack says, but I’m getting thirsty again. I think they left that bottle in the car, I say. We get the bottle and sit on the steps of the brick building. I drink, give it to Mack, he drinks, gives it back. It goes like this until it starts to get dark. You ever smoke before, Mack says. I took a puff of my uncles Salem one time, I say. I smoke all the time, he says. We search the car for the Salems but don’t find none. We can smoke leaves, Mack says, my cousin do it all the time. Mack tears a piece of paper out of his notebook. He picks some poison ivy off of the building. He rolls it into the paper and licks the seam. Thats nasty, I say, I dont wanna smoke your spit. I have to do that, he says, so it will stick. Mack lights the paper. He sucks on it. Coughs a little cough. Smoke rolls out his nose and mouth. He gives it me. I do the same but don’t cough. Mack says, You didnt inhale. You gotta make the smoke go in your lungs. I try again. Take a deep breath, Mack says. I choke. Smoke shoots out my mouth and nose. I drool on my shirt. Eyes water. I look at Mack. His face is melting. Mack smokes, gives it to me, I smoke, give it back. It goes like this until Mack’s dad and my uncle stumble out with their arms around each other. Their slow brown faces laughing and smoking.
In the car Mack’s dad says, What happened to all the Rose. My uncle laughs and says, Them turkeys drunk it all. Oh well, Mack’s dad says. My uncle says, Shit, we forgot to tell yall turkeys do ya homework. What yall got anyway. Um, I say, we sposed to be learning our times tables. Oh yeah, Mack says, we gotta do these worksheets. I hate times tables, I say, its too hard. My uncle says, Aw hell, it aint that damn hard. He takes out a pack of Salems and says, Look, its twenty cigarettes in this one pack. If you had two packs how many would that be. Forty, I say. Good, he says, you just did twenty times two. Now if you had three packs, how many is that. Mack says, Sixty. Good, my uncle says, thats twenty times three. Now do the same with all the times tables, just keep adding. See, that shit is easy aint it. Mack’s dad turns the yellow light on in the top of the car so we can do the worksheets. All the way home my uncle makes us recite all the twos to the twelves over and over.
Mack’s dad drives up on the hill to drop me and Uncle off. Everybody is in the street with the sheriff. My mom runs up and slaps my uncle in the face, Where the hell yall been, she says, I thought his dad kidnapped him, why you aint tell nobody you picked him up, you drunk muthafucka. My uncle says, Be cool, Jack. That boy is fine. My mom slaps him again. My uncle says, I said chill the fuck out. He did his homework and we fed him. My mom says, I had enough of you, you fuckin drunkard, got my kid runnin the streets, had me thinkin his dad kidnapped him. My uncle grabs my shoulders and kisses me on the forehead. He hugs me and says, Alright Turkey, get some rest and have a good day at school tomorrow. My lungs and my throat feel weird. My mom grabs me and says, Look at me boy, whats wrong with you. I throw up on her feet.
Yellow
Everyone is downstairs crying. I walk upstairs to Grandma’s room. It is dark. Her dirty pink house shoes are lined up by the nightstand like she just got into bed. The covers on her side are pulled back like she just got out of bed. I leave and ask my mom how Grandma died. My mom says she just turned yellow and died. What, I say. You heard me, she says, she just turned yellow and died. I will never eat dandelions again.



Life is good now.
* Steven and sister Keshia. * Dad and son Ever;
* Wife Tara and daughter Jada at Jada's art exhibit
* Niece Summer gives Steven a new hairdo.

This page was written and put together by Kate Long, editor of five more voices. Kate, a native West
Virginian, spent 35 years as a print and radio journalist. Her work in both won national awards.
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