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28 pages 56 minutes read

T.C. Boyle

Greasy Lake

Fiction | Short Story | Adult | Published in 1985

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Background

Authorial Context: T. C. Boyle

Thomas Coraghessan Boyle was born on December 2, 1948. Boyle grew up in the town of Peekskill in Upstate New York, a place explored in much of his writing, including World’s End, a novel that earned him the PEN/Faulkner Award in 1988. Coming of age in the 1960s, Boyle was deeply influenced by the short stories of Flannery O’Conner and John Updike. He earned his bachelor’s degree in history and English in 1968 at the State University of New York at Potsdam. In 1974, he earned a master of fine arts at the University of Iowa Writers Workshop, where he also earned his doctorate.

It was at this time that Boyle befriended Raymond Carver, whose sparse writing style he hoped to emulate. Ultimately, however, Boyle would become known for his satirical approach to fiction, his penchant for dark comedy, and his rich and energetic prose. A sense of place also permeates Boyle’s work. One recurring theme across his novels and short fiction is nature and the environment. The Tortilla Curtain (1995), which was published to wide acclaim and controversy, centers on immigration in Southern California. A later novel, Drop City (2003), is set in 1970 and takes a critical look at the “back-to-earth” movement. In true satirical style, Boyle tackles topical sociopolitical agendas and exposes their fallacies via humor.

Though published earlier than these novels, “Greasy Lake” demonstrates similar stylistic and thematic preoccupations. Boyle’s satire primarily targets the narrator and his friends, exposing the simultaneous hollowness and danger of their bad-boy persona. However, the story also explores Capitalism and the Environment, with Boyle’s lush prose here turning rank as he graphically describes the lake’s polluted state.  

Boyle is a prolific writer, having penned over 100 short stories as well as 16 novels. Boyle identified with the 1980s punk scene for many years. Prior to earning his master of fine arts, he struggled with addiction: heroin, pills, and alcohol. In a 2009 interview with The Guardian, Boyle stated, “[Life] is tragic and absurd and none of it has any purpose at all” (Grant, Richard. “A Life in Writing: T. C. Boyle.” The Guardian, 27 Feb. 2009).

Historical Context: 1960s America

Though T. C. Boyle published “Greasy Lake” in the 1980s, the bulk of the story reflects anxieties that permeated Boyle’s youth in the 1960s, when postwar prosperity gave rise to social tensions—a fear that wealth and security belied the true, illusory nature of the American Dream. Even among the seemingly prosperous, discontent with America’s capitalist and consumerist culture was widespread, giving rise to the era’s famous counterculture. Though the main characters of “Greasy Lake” never reference politics, they seem to share their contemporaries’ disaffection. The first paragraph of “Greasy Lake” describes the narrator’s drive “up the strip, past the housing developments and shopping malls” (8), painting a picture of empty prosperity and materialism.

The 1960s also saw a huge increase in environmental awareness, especially regarding toxic waste. The development and use of new chemical weapons and technologies during the Vietnam War (e.g., Agent Orange) contributed substantially to pollution and the anxieties surrounding it. Lax or absent safety regulations also played a role, as industries had little incentive to handle potential contaminants responsibly. Finally, American consumer culture encouraged wastefulness and littering, as cheap, mass-produced goods could easily be tossed aside. This context informs Boyle’s depiction of the polluted lake itself and the intertwined critique of US materialism. Rather than granting more access to goods and services (as the town’s shopping malls and housing would imply), the “American Dream” has led to the degradation of both natural resources and human nature, as evidenced by the characters clinging to a “bad boy” identity simply to find meaning.

The story’s references to the Vietnam War provide further context for the characters’ actions. When the narrator drops the keys to his car in the grass, he compares this innocent mistake to “a tactical error, as damaging and irreversible in its way as Westmoreland’s decision to dig in at Khe Sanh” (9). Khe Sanh, a seminal battle in the Vietnam War, is historically regarded as a gross misuse of military technology and resources resulting in excessive levels of violence, as Americans fought to uphold a military base they subsequently abandoned. Though the absurdity of the allusion highlights the boys’ relative innocence—they have never been in combat or anything like it—it also highlights that they have grown up in an era of reckless violence and implies that this atmosphere has a hand in their own moral decay.

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