Bernard Malamud, The Art of Fiction.

Bernard Malamud lives in a white clapboard house in Bennington, Vermont. Spacious and comfortable, it sits on a gentle downward slope, behind it the rise of the Green Mountains. To this house on April 26, 1974, came friends, family, colleagues, and the children of friends to celebrate Malamud’s sixtieth birthday. It was a sunny weekend, the weather and ambience benign, friendly.

There were about a half-dozen young people taking their rest in sleeping bags in various bedrooms and in a home volunteered by a friend and neighbor. Three of them, from nearby universities, were children of friends who were on the faculty of Oregon State University more than a dozen years ago.

On Saturday night there was a birthday party, with champagne, birthday cake, and dancing. At the end of the evening the young people drummed up a show of slides: scenes of past travels; in particular, scenes of Corvallis, Oregon, where Malamud had lived and taught for twelve years before returning East.

Bernard Malamud is a slender man with a graying mustache and inquisitive brown eyes that search and hide a little at the same time. He is a quiet man who listens a lot and responds freely. His wife, Ann, an attractive, articulate woman of Italian descent, had planned the party, assisted by the young people from Oregon and the Malamuds’ son, Paul, and daughter, Janna.

The taping of the interview began late Friday morning, on the back porch, which overlooks a long, descending sweep of lawn and, in the distance, the encircling mountains. It was continued later in the book-filled study where Malamud writes. (He also writes in his office at Bennington College.) At first he was conscious of the tape recorder, but grew less so as the session—and the weekend—continued. He has a quick laugh and found it easy to discourse on the questions asked. An ironic humor would seem to be his mother tongue.