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November 29, 2006

Bring in the Shreve--not Anita

Dear Reader,

Psychological thriller, family drama, intelligent romance—the deft blend of these disparate literary genres made Susan Richards Shreve's A Student of Living Things of my most oddly satisfying reads of the year. From the moment I picked it up, the beautiful prose and the immediacy of the story entangled me completely. Shreve’s tale begins, as most thrillers do, with a murder: Graduate student Claire Frayn (oddly naive for all her intelligence) is talking with her charismatic, activist brother Steven when he is gunned down on the university library steps.
        In the aftermath of this traumatic, unforeseeable event, Claire’s tight-knit family begins to disintegrate. Her mother moves out, her aunt loses her job due to controversy surrounding Steven’s death, and Claire retreats deep into herself. It’s only when she’s approached by Viktor, an enigmatic classmate of Steven’s, that she sees a way forward: revenge. Her desperate, unquestioning belief in Viktor’s story leads her to play femme fatale with his chosen suspect, but when she realizes her love is no longer an act, Claire’s world begins to unravel. Whom should she trust, and will she learn the truth before the secret that killed her brother destroys her family?

Alaya Johnson
Editorial Assistant, QPB

November 28, 2006

Surprise, surprise: Justin hearts Augusten

Dear Readers,

How did Augusten Burroughs endure a childhood of abuse, a young adulthood of addiction, and a present of free-floating anxiety about doctors, doll-haunted inns, and college sweatshirts? With a morbid imagination, an affinity for life’s absurd aspects, and, actually, an optimism trickling beneath that famous deadpan. If the tragicomic Running with Scissors and Dry were almost too intense, Possible Side Effects, with stories culled from his earliest memories to today, offers up man-in-full Burroughs; his current life (including a loving partner) far from bleak, his observations just as bizarrely touching and beautifully brilliant. Oh, yeah: He’s still piss-in-pants funny.

In “Killing John Updike,” present-day Burroughs starts a death-watch on Updike (his first editions will be worth bajillions!), and wonders how much one of his own tomes might fetch when he kicks it. “Moving Violations” hits I-95 with teenaged Augusten and “Druggy Debby”; to scare bad drivers straight, the vigilante friends bear handmade signs with tips (“Use your blinker!”) and, ahem, striking images. “The Forecast for April” is a moving, haunting portrait of a mother’s kind, attentive friend whose bookshelf is a coffin—to be used later. As a kid, Augusten would peel the crusts off white bread and compress the remaining innards into a ball, eating it like an apple. Me too! No wonder he’s my hero.

Justin Ravitz
Associate Editor, QPB

November 16, 2006

Exclusive QPB Interview with Julia Scheeres, the acclaimed author of Jesus Land

Interview with Julia Scheeres by Annie Leuenberger
November 11, 2006
Mission Café –Valencia St. @ 21st St.
San Francisco, California

San Francisco native and QPB contributing editor Annie Leuenberger caught up with local author Julia Scheeres, winner of QPB’s New Visions Award for her memoir Jesus Land, and her ten-week-old baby Tessa, who slept the entire time despite having had her first full night of sleep on the eve of the interview.

We’re here today to find out what you’ve been up to since the publication of Jesus Land. First is first. How’s motherhood? How’s Tessa doing?

Well, Tessa’s right here. She’s sleeping at the moment. This could change in the next minute. She could wake up and start screaming again, but it’s been awesome. I didn’t know I was capable of feeling such a profound love for anyone. It’s so different from what you feel for your family and even your partner. It’s just unconditional and it’s very safe because you know they’re never going to leave you. There’s no fear.

Some people say writing a novel is a birth of sorts--how does giving birth, literally, change your perceptions of being a writer?

Well, it was the most incredible amount of pain I’ve ever been in. 

The book or the baby? [Laughter] 

Emotional pain, the book. Physical pain, the baby. I think once you’ve given birth you’re not afraid of anything anymore.Are you a part of a community of writers in San Francisco? Do you connect with other writers?

Yes, I’m a part of the San Francisco Writer’s Grotto, which is a community office space in South Park with thirty-plus writers. It’s an amazing resource. The writing task can be very lonely, so it’s nice to be able to grab coffee or lunch with someone. But not only do you have the social aspects-- the networking aspects are great as well. We ask each other things like, Do you like your agent? How much did you get for your advance? [Laughter] We have a conference room. We all eat lunch together at 12:30 and discuss literature. It’s really amazing. It’s ideal. I can’t see that happening anywhere else, really. It’s just been a great boon.

Speaking of the writing practice and the like, what is your favorite time to write?

Well, it used to be the morning, but now my mornings are taken up with little Tess here. I’ve got to quickly feed her, dress her, and get her off to daycare. Being a mom teaches you to be very disciplined. I was worried about how it would affect my writing, but I just learned to just be very focused. When you’ve only got an hour, you’ve got to focus-—turn off the e-mail, turn off the Internet.

[Tessa stirs. Goes back to sleep.] 

I’ve read some of your other interviews and the postings on your blog in which you mention being thankful to live in such a tolerant community as San Francisco—a much different place than where Jesus Land takes place. I’m curious how location informs your new work. 

My new novel?

Yes, which is also what we want to talk about today. 

Well, I think it does play a part in that I deal with a lot of the same themes: religious hypocrisy, narrow-minded subculture and escaping it.  It’s about a girl who grows up in this tiny Indiana town that is run by a preacher/city manager—-they call him the “Rev Man” for Reverend Manager.  It’s basically this tiny little forgotten Indiana town and he has complete control over it. Things get crazier and crazier as he tries to block out secular culture, which is kind of like the reform school I was in. It is the reform school I was in. So when this girl manages to escape, she’s totally unprepared to launch herself into the world. She is just so naïve and ignorant about what the real world is—-it’s kind of the next step after Jesus Land, like, what happens when you leave?

Continuing on the theme of location, Jesus Land debuted on the Times of Londons bestseller list at #10 in paperback non-fiction last Sunday (11/5). This, you say on your blog, in a country you’ve never even visited. Seems there’s an element of surprise in your reaction. Can you speak about your feelings surrounding the success of your memoir?      

Well, it was so hard for me to even sell this book in the U.S.  My agent had almost given up on it. Counterpoint was the last publisher that he showed it to. Actually, he didn’t even show it to them. He was out having lunch with an editor discussing another book and as an afterthought, he asked this woman where she was from. It just so happened that she was from the Midwest and brought up by missionary parents.  He said, “Well, in that case, I have a writer who grew up under similar circumstances,” and the editor said, “That’s the book I want to read.” And they bought it almost immediately. 

But there was a time there, a very black period, where I said, “I can’t sell this.” However, I felt so strongly about it being a testament to my brother, a tribute to him, a way to immortalize him, that I just wanted it to be published and didn’t care about the money. The fact that it’s done so well is beyond my wildest expectations. It’s a great, great feeling. It’s a very humbling experience. It makes me feel great that people are reading about David all over the world:  in the UK, in Australia, in New Zealand. I get e-mails from everywhere.

What are some of the responses from abroad? How do they respond to this American story?

Well, they don’t specifically put it in American terms, but I think it has the universally appealing themes of misfit kids, teenage angst, feeling like you are a helpless child and you just want to turn 18 and break free. I still get e-mails about it every day. Some people tell me, “I love David. I feel like I really know him.”

In light of this tribute to David, it’s the 20th anniversary of his death next year, right? 

Yeah, it’s weird because he’ll be dead as long as he was alive. 

Where is David with you now? 

It’s interesting. When I was writing the book, I was just so in tune with him and his memory. I looked at photographs every day; I read his letters. I really put myself back into the 80s and read my diary. So in that regard, he felt very close… I would dream about him constantly. It was very a beautiful experience because I felt--it sounds strange, but I felt close to him again. I would dream about him and he would be real to me again, but in a comforting way. He would just appear in a dream randomly or it’d be us as kids having an adventure. When I stopped writing the book, I stopped dreaming about him. I am very humbled that this book has done so well and I was able to get his story out there.  

How has it been making the shift from nonfiction to fiction?

It’s great to just make shit up. [Laughter] It’s a big relief after Jesus Land. It’s so freeing. You can make things so much more dramatic and funnier than they would have been in real life. With nonfiction, you have to be like, All right, I have to dramatize this very mundane detail because it’s important to the book somehow--whereas in fiction, you can take it to the nth degree. So it’s been really fun. I’m just starting to work on it again and I just get in this float-y space where it’s all I think about. In the middle of the night, or when I’m walking Tess-—you just get into this trance where you’re making connections all over and you’re like, I’m going to use that in the book.

Is your main character coming into your life like David did?

Well, this is still the first draft. I’m still in the idea stage. The whole idea of the town just came to me--the history of the town and the reverend. As you’re writing, things layer and they change. It’s a thrilling experience. I’m loving it. Hopefully I can sell it. [Laughter] Hopefully my editors will think it’s as interesting as I do. It’s just really fun. It’s also fun to poke fun at the culture I grew up in. 

What are you reading now? Or do you even have time to read?

I actually have a friend’s manuscript with me now that I’m supposed to blurb—-I’m blurbing a lot of books lately. I’m also reviewing books for the New York Times. 

Who are your favorite fiction writers these days?

For short stories, I really love T.C. Boyle and Annie Proulx-—not as passionate about their novels. I like really odd, quirky books. I just read this novel for the New York Times by this French woman who was trained as a psychiatrist and later became a novelist-—it’s called Everyday Life by Lydie Salvayre. It’s this neurotic and paranoid monologue of this middle-aged secretary whose life is upended when a new secretary is hired at her firm. It’s all in her head. It’s just hilarious. I like quirky stuff like that. There’s also this book by Jim Crace called Being Dead, which I adored.  Especially the beginning of Being Dead--it’s just shocking. It’s an amazing conceit. A lot of books, you know, they lose steam along the way or in the middle, but if the conceit is interesting enough, it will pull me along.

Off the topic here, but I took one of those career tests recently and one of the questions it asked was, “If you had an hour of primetime TV, what would you talk about?”

I’d talk about changing dirty diapers in the middle of the night and how much I love that, how thrilling it is. Just kidding. You know, it’s funny, I’m a pretty private, quiet person, but this book has forced me to be an activist in one regard and that is regarding New Horizon Youth Ministries, which runs the reform school I went to. I’ve already been on TV actually and there have been newspaper articles written about it.  Also, we started this alumni web site which is basically filled with testimonials against this school. There are thirty or so people talking about the abuse they suffered.  And it’s very empowering. When you’re in a reform school, they take kids as young as 12 at these schools, you feel like you’re a bad kid because you’re still in that stage where adults are always right. You’re used to being a minor and having people in control of you, so when you grow up, and you realize that yes, it actually was a bad place and it still exists and kids are being hurt there now, it’s a powerful experience. I’d probably talk about New Horizons and Christian zealots. I think fundamentalism of any kind is harmful. 

Julia, one last question…do you plan on staying in the Bay Area?

I hope so. I love it here. And I’ve lived everywhere: the Midwest, Miami, Maryland, Los Angeles. I went to school in the Dominican Repulic, I did a semester in Costa Rica, and I lived in Spain for four years, which I loved. Part of the new book will take place in Spain.  But there’s something about San Francisco. It’s progressive, there’s a big writing community, there are a ton of little places like this café-—it’s not all Starbucks and Barnes and Noble stores. It still has its quaint class and independence. And the Grotto is a huge thing. I don’t think I’d be able to find that anywhere else.

November 14, 2006

In short, short stories rock.

How come so many readers have an aversion to short stories?  Given that I occasionally have the short-term sound-byte attention span so typical to kiddies raised up on Pat Benator videos and Saturday morning cartoons, short stories are often just my speed--and that should be the case for others in my generation, too. But no.  Young, old, left, right, male, female...all kinds of folks flap away short story collections.  Too fleeting? Too experimental?  Too indulgent? Not satisfyingly chunky and stewy enough?  The best short stories aren't lazy one-offs or "works in progress" (hate that term), but tiny jewels that gleam with the gifts of the very best, most economic, most exacting and most talented writers--who know that one tiny moment, scene, image or setpiece can say or suggest as much as a 500-page epic.  QPBers have heard me wax rhapsodic about masterful short-stories from the likes of Yiyun Li and Alice Mattison (to say nothing of all-time greats like O Henry and Flannery O'Connor and...), and our latest reason to celebrate this underappreciated form is Deborah Eisenberg, whose Twilight of the Superheroes is one of the best reviewed  books of the year. Read it! Or tell me why you're reluctant to do so.

 

November 13, 2006

Reading is on the Decline

 

What is the worth of words? 

Is reading a necessity or a luxury? What do you think will become of future generations?

November 10, 2006

Followup to Like Water for Chocolate...

An excerpt from Chapter One of Laura Esquivel's MALINCHE:

 First came the wind. Later, like a flash of lightning, like a silver tongue in the heavens over the Valley of AnC!huac, a storm appeared that would wash the blood from the stones. After the sacrifice, the city darkened and thunderous eruptions were heard. Then, a silver serpent appeared in the sky, seen distinctly from many different places. And it began to rain in such a way as had been rarely seen. All afternoon and evening it rained and through the following day as well. For three days the rains would not cease. It rained so hard that the priests and wise men of AnC!huac became alarmed. They were accustomed to listening to and interpreting the voice of the water, but on this occasion they insisted that not only was TlC!loc, God of Rain, trying to tell them something but that by means of the water he had allowed a new light to fall over them, a new vision that would bring a dif-ferent meaning to their lives, and although they did not yet clearly know what it was, they could feel it in their hearts. Before their minds could correctly interpret the depth of this message that the waters revealed as they fell, the rains stopped and a radiant sun was reflected in myriad places among the small lakes and rivers and canals that had been left brimming with water.

That day, far from the Valley of AnC!huac, in the region of Painala, a woman struggled to give birth to her first child. The sound of the rain drowned out her groans. Her mother-in-law, who was acting as midwife, did not know whether to pay more attention to her daughter-in-law about to give birth or to the message of the god TlC!loc.

It didn't take long for her to decide in favor of her son's wife. It was a difficult delivery. In spite of her long experience, she had never been present at such a birth. While washing the mother-to-be in the bathhouse just prior to the delivery, she had failed to notice that the fetus was in the wrong position. Everything had seemed to be in order, yet the anticipated birth was taking longer than usual. Her daughter-in-law had been naked and squatting for quite a long while and still couldn't deliver. The mother-in-law, realizing that the unborn was unable to pass through the pelvic channel, began to prepare the obsidian knife with which she cut into pieces the fetuses that could not be birthed. She would do this inside the wombs of the mothers, so that they could easily expel them, thus sparing at least their own lives. But suddenly, the future grandmother, kneeling in front of her daughter-in-law, saw the head of the fetus poke out of the vagina and then shrink back a moment later, which probably meant that the umbilical cord was wrapped around its neck. Then, just as suddenly, a small head poked out from between its mother's legs with the umbilical cord caught in its mouth, as if a snake was gagging the infant. The grandmother took the sight as a message from the god QuetzalcC3atl, who in the form of a serpent was coiled around the neck and mouth of her future grandchild. The grandmother quickly took the opportunity to disentangle the cord with her finger. For a few moments, which seemed like an eternity, nothing happened. The hard rain was the only sound that accompanied the moans of the young mother.

After the waters had spoken, a great silence took root and was broken only by the cries of a young baby girl whom they named Malinalli, since she was born under the third sign of the sixth house. The grandmother shouted like a warrior to let everyone know that her daughter-in-law, a great fighter, had come out victorious in the battle between life and death. She pressed the granddaughter to her bosom and kissed her again and again.

Thus the newborn, daughter of the Tlatoani of Painala, was welcomed into her paternal grandmother's arms. The grandmother sensed that the girl was destined to lose everything so that she might gain everything. Because only those who empty themselves can be filled anew. In emptiness is the light of understanding, and the body of that child was like a beautiful vessel that could be filled to overflowing with the most precious jewels -- the flower and song of her ancestors -- but not so that they would remain there forever, but rather so that they could be remade, transformed and emptied anew.

What the grandmother could not yet understand was that the first loss the girl would experience in her life was far too soon at hand and, much less, that she herself would be strongly affected by it. Just as the Earth had first dreamed about the flowers, the trees, the lakes and rivers on its surface, so had the grandmother dreamed about the girl. The last thing she would have thought at that moment was that she could lose her. Witnessing the miracle of life was powerful enough to prevent her from dwelling on death in any of its manifestations: abandonment, loss, disappearance. No, the only thing her body and mind wanted to celebrate was life. So the grandmother, who had so actively participated in the birth, looked on joyful and spellbound at how Malinalli opened her eyes and shook her arms vigorously. After kissing her on the brow, she placed her in the arms of her father, the Lord of Painala, and proceeded to carry out the first ritual after a birth, the cutting of the umbilical cord. She did it with an obsidian blade that she had prepared just for the occasion. The blade had been polished with such care that it seemed more like a resplendent black mirror than a knife. At the moment of cutting, the piece of obsidian captured the rays of the sun filtered through the thatched roof and their intense reflection was focused on the grandmother's face. The magnificent rays of the solar star knifed into the grandmother's pupils with such force that they irremediably damaged her sight. At that moment she thought that maybe this was the meaning of the reflections, a coming nearer to the light. She also understood that in helping her daughter-in-law give birth she had become a link in the feminine chain created by countless generations of women who assisted each other in childbirth.

The grandmother then carefully placed the child at her mother's breast so that she could be welcomed into this world. On hearing her mother's heartbeat, the girl knew she was in the right place and stopped crying. The grandmother took the placenta outside to bury it by a tree in the courtyard of the house. The ground was so heavy with the rains that the burial was made half in earth, half in water. The other half of Malinalli's umbilical cord was drowned in the earth. With it, life was sown anew, returning to the earth of its origin. The cord that binds the earth with the heavens ceded nourishment to nourishment.

A few days later, the grandmother herself baptized the girl, for tradition stated that the midwife who had brought the child into the world would have that honor. The ceremony took place at sunrise. The girl wore a huipil, a traditional sleeveless dress, and tiny jewelry that the grandmother and mother had personally made for her. They placed a small clay washbowl in the middle of the patio and next to it arranged a small trunk, a spindle, and a weaving shuttle.

In beautifully decorated ceramic stoves they burned copal. The grandmother carried a censer, and directing it toward the spot where the sun was beginning to rise, she spoke to the wind:

"God of the Gusts, stir my fan, raise me to you, lend me your strength, lord."

In response, a light breeze grazed her face and she knew that it was the right moment to make her greeting to the four winds. She turned slowly toward each of the four cardinal points as she said her prayers. Then she swung the censer under her granddaughter, who was being held high in the air by her parents, as they offered her to the wind. The small figure, silhouetted against the blue sky, was soon blanketed with copal smoke, a sign that her purification had begun.

The grandmother put the censer back in its place and, taking the child into her arms, raised her again to the heavens. She then dipped her fingers in water and let the girl taste it.

"This is the mother and father of us all," she said. "She is called Chalchiuhtlicue, Goddess of Water. Take her, let your mouth receive her, for you will need her in order to live on this earth."

Then, dipping her fingers in the water again, she touched the child's breast.

"See here, for she is the one who will enable you to grow and revive, the one who will purify you and will make your heart and your insides thrive."

Finally, using a calabash, she poured water over the girl's head.

"Feel the freshness and greenness of Chalchiuhtlicue," she said, "who is always alive and awake, who never sleeps or dozes, may she be with you and embrace you and keep you in her arms so that you will be awake and resolute on this earth."

Immediately afterward, she washed the child's hands so that she wouldn't be a thief and her feet and her groin so that she wouldn't be lustful. Finally she asked Chalchiuhtlicue, Goddess of Water, to cast out all evil from the body of the child, to set it aside and take it with her. Then she concluded by saying:

"From this day forward you shall be called Malinalli, a name that will be yours alone, the one that by birth belongs to you."

To end the ceremony, Malinalli's father took her in his arms and said the customary words of greeting, in which he chanted the prayer of welcome given to newborns.

"Here you are, my awaited daughter, whom I dreamed about, my necklace of fine jewels, my quetzal plumage, my human creation, engendered by me. You are my blood, my color, in you is my image. My little girl, look on peacefully. Here is your mother, your lady, from her belly, from her womb, you were engendered, you sprouted. As if you were a leaf of grass, you sprouted. As if you had been asleep and awoke. Now you live, you have been born. Our Lord, the keeper of all things, the maker of people, the inventor of man, has sent you forth unto the earth."

At that moment, Malinalli's father felt an inspiration within him from somewhere quite different and instead of continuing with the traditional words of welcome, he mouthed a different chant.

"My daughter, you come from the water, and the water speaks. You come from time and will live in time and your word will live in the wind and be planted in the earth. Your word will be the fire that transforms all things. Your word will live in the water and be a mirror to the tongue. Your word will have eyes and will see, will have ears and will hear, will have the tact to lie with the truth and to tell truths that will seem like lies. And with your word you will be able to return to the stillness, to the beginning where nothing is, where all of creation returns to silence, but your word will awaken it and you will name the gods and give voice to the trees and you will give nature a tongue to speak for you of the invisible that will again be visible through your word. And your tongue will be the word of light, a paintbrush of flowers, the word of colors that your voice will use to paint new codices."


In the year 1504, when a young HernC!n CortC)s first set foot on the island of Hispaniola (nowadays comprising the Dominican Republic and Haiti) and realized that he had entered a world that was not his own, his imagination became filled with desires. Like a typical only child, he was used to having anything that he longed for. When he was growing up, he never had to share his toys with anyone and as a result was a capricious child who as soon as he wanted something would take it without hesitation. With such traits, it is not surprising that on discovering new lands his mind was overcome with ambition. He had arrived in Hispaniola on his own, not owing allegiance to any army or religious order. What he brought with him, aside from delusions of grandeur and a yearning to see the world, was a desire for liberty. The persistent pampering of his mother had suffocated him and made him into a weak and sickly child. His adventurous spirit was a prisoner within the parental walls. Moreover, his parents' enormous expectations were an onus, a weighty burden that tormented him. He also felt that his parents, though they never told him outright, were disappointed with his short stature. He was not tall enough to join a cavalry or an army. So he was left with three options: to become a page in the king's court, to become a priest, or to train for a suitable profession. His father was never able to get HernC!n accepted as a page, so that option was discarded. They found a place for him as an altar boy at the church, but he never made it past that position, perhaps because his character was not suited to serving God in such fashion. Ultimately, CortC)s attended the University of Salamanca, where he learned Latin and studied law for a short period. On the lookout for fresh opportunities, however, he soon decided to lift anchor and set sail for the New World. He wanted to prove to his mother that he wasn't as small as she thought he was, and that he didn't need so much schooling to obtain money and power. He wanted to be rich, just like the nobles, who could do whatever they wished.

There in Hispaniola, the path his life would take depended on himself and himself alone. Almost as soon as he arrived he introduced himself to the Spanish rulers of the island, foremost among them, Governor NicolC!s de Ovando and several of his close associates. In conversing with them he learned of the way of life in this new world and what it had to offer them. He didn't hesitate to suggest solutions to problems of governing, designing projects and then persuading them that he was the one who could carry them out.

Soon enough he had gained the trust and regard of the rulers, for not only had he succeeded in battles against the natives and helped to quell rebellions, but he had also designed routes and roads to cover distances in less time and in a much more secure fashion, as a result of which he was awarded a royal land grant of considerable value in a region where they planted sugarcane. For CortC)s, this was not enough. His ambitious spirit wasn't satisfied. He wanted gold. All the gold he could get his hands on. He wanted to dazzle the world.

One morning, shedding the fear of always having to appear perfect, he decided to take off his boots -- which added a little height to his short stature -- and unfasten and cast off his clothes, so that he could feel his body just as nature had made it. He needed to rest his cracked feet, which during his voyage from Spain had become infected with various fungi that were difficult to treat.

The joyous prospect of walking barefoot in the sand motivated his spirit. The peace he felt that morning was so vast that he thanked God for his life and for the chance to live in such a historic period. Approaching the sea, he allowed the water to wash his feet and he felt immediate relief knowing that the water would purify his wounds the same way it purified the clothes of sailors on the high seas. During long seafaring trips, the only way to wash clothes was to bind them tightly inside a net that was cast overboard as the ship sailed on; the sea penetrated the fibers of the cloth, washed off all impurities, and left them completely clean. He remained there on the shore a long while, letting the waves wash his wounds. Staring off toward the horizon, he recalled the long days of his voyage when, overwhelmed on the ship's deck, he observed the sky and the stars until his mind opened and he understood for the first time the roundness of the earth and the infinity of the cosmos.

Later, when he emerged from the sea, he lay down in the grass so that his feet would benefit from the purifying rays of the sun. With one arm he covered his eyes to protect them from the midday light and let his mind relax. The distant sound of the waves lulled him to sleep for a moment. And that one careless moment was all it took for a venomous scorpion to sting him and release all its poison into his body.

For three days, CortC)s struggled between life and death. They were days of rain and prayers. A powerful storm lashed into the island and it rained ceaselessly. CortC)s did not even notice the thunder, and the Spanish companions who had helped him, listened to him, frightened by the things he said in his delirium. He spoke in Latin and other strange tongues. He told them that there was an enormous sun that continued to grow and grow, a sun that would explode and spread bloodshed everywhere. He said that human beings would fly through the sky without needing to rest on the earth, that tears and the unbearable stench of death would conquer all of his body. He pronounced the names of Moorish kings, spoke of the historic defeats of Spain, mourned the Crucifixion, entrusted himself to the Virgin of Guadalupe, shouted out curses and stated that it had been a serpent, a great serpent that had bitten him, a serpent that lifted itself up in the air and flew in front of his eyes. On and on he raved until he fell completely asleep. Some had left him for dead, and he seemed so peaceful that they made plans to bury him the morning after, but when they arrived there to proceed with the holy burial they found that CortC)s had opened his eyes and miraculously recovered. Observing a transformation in him, they realized that his face radiated a new strength, a new power. They all congratulated him and told him that he had been reborn.


Copyright B) 2006 by Laura Esquivel

November 09, 2006

Anne Tyler: exclusive club interview

Anne Tyler's latest opus is entitled Digging to AmericaWe dig it.  Read our exclusive interview with this legendary living author below...

Contributing editor Larry Shapiro's rare and exclusive interview with Anne Tyler...

1. Was there a point in your career when you consciously decided that your subject was families?

Not only did I never consciously decide to make families my subject; I'm always hoping that they won't be my subject the next time around. It seems to me I've done families to death. But they just come to my mind, somehow. I think it's because they offer a convenient way of trapping my characters together at close quarters. Family life is like one of those cataclysmic disasters in a Grade B movie; it forces people to show their true selves.

2. DIGGING TO AMERICA has a feeling of inevitability about it, even though it's full of unpredictable twists and turns-unpredictable at least to this reader. In your first scene, where the two families are waiting at the airport to receive their adopted children, you introduce almost every major character but one. Did you plan it all out, from that first coincidental meeting to that wonderful scene-I don't want to give too much away-at the end?

This has been a very accidental novel. I did now the bare bones of the plot-how things would turn out in the end-but my characters were fairly willful, and they meandered toward that end in their own ways. That has probably been the greatest change to my approach to writing, over the years: more and more I've learned to trust my characters. I used to look forward to handling something-some scene or event that would be under my control-while now I look forward most to being surprised. It's as if someone else is telling me the story; who knows what will happen next?

3. When I think of your novels, I think of people sitting around a table for a festive occasion that takes an unexpected turn. It's striking how often the important action occurs during parties and meals and holiday celebrations. Is this a conscious preference?

Partly, of course, celebrations are just convenient opportunities for various kinds of social explosions. But I do notice that I seem drawn to scenes involving food, and I think that's because people's attitudes toward food reveal so much about the. Are they feeders, or withholders? Enjoyers, or self-deniers? What exactly is on their plates-or in the saucepans they're eating directly from as they're hunching over the stove? It's all a kind of shortcut to tell my readers whom they're dealing with.

4. In DIGGING TO AMERICA, this approach creates a "life's most awkward moment" impact when Maryam, who's been widowed for years and is elegant but reserved, receives a marriage proposal in front of everyone at a gathering. Did you consider having the proposal come in a more traditional way?

Maryam's public proposal was in my head from the start, because I'm fascinated by examples I've seen in real life-on billboards, on ballpark scoreboards-and I've wondered what a woman would do if she would rather not get married. The format for Maryam's proposal-the cultural misinterpretation involved-is an instance of my characters' running away with the book. It popped up out of nowhere, her suitor's own piece of silliness, but I left it in because it seemed appropriate to the theme.

5. Maryam is one of your most "exotic" characters, in that she came to America as a bride in an arranged marriage, from an Iranian society that was very different. Does your title refer to her as well as the children?

The story started with an image of two orphans arriving at an airport. Then I thought it would be fun if one of the families meeting them was Iranian, because I'd been thinking back fondly on the gigantic Iranian family I married into forty-odd years ago. Only halfway through the book did it occur to me that of course, Maryam too was "digging to America." Another lucky accident.

6. DIGGING TO AMERICA is a novel about friendship as well as families. In this case, it's accidental friendship, all stemming from that meeting at the airport in the first scene. Apart from adopting Korean babies, your friends don't appear to have much in common. What holds the friendship together?

I'll bet just about any young parent will agree with me that there is a time in life when friendships are dictated by one's children-how old they are, where they go to school. I've made some of the unlikeliest friends just because their children and mine developed a mania for, say, gymnastics at the same instant. And the Donaldsons and the Yazdans have even more reason for connection because of their shared experiences of infertility and adoption. They may, of course, drift apart later as their daughters grow up and move away; but it's also possible that by then they'll be so intertwined, they won't even see that as an option.

7. In some of your novels, the heartbreak comes from people who leave, especially children or siblings. You show this from the viewpoint of the people who are left behind and spend years brooding about what went wrong. Often when they do return-I'm thinking of SEARCHING FOR CALEB, where a long lost brother returns, and THE AMATEUR MARRIAGE, where it's a child-they seem very different from the way they were remembered. Is there a division between people who believe that family is the strongest bond there is, and people who don't seem to feel it much at all-or is that just the way it seems to the characters who have been abandoned?

I've never thought about this till you asked, but yes, it does seem you could divide the world into people who consider family paramount and people who do not. I don't want to say that one group is right and one is wrong, though. I'm sure there are many cases when leaving one's family is a matter of pure self-preservation.

8. My questions might make DIGGING TO AMERICA sound grim to someone who hasn't read it, yet it's certainly as funny and heartwarming as your other novels. How do you achieve that unique balance between humor and the graver emotions?

I've always been blessed-or cursed, you might say, if I'm sitting in a funeral-with a tendency to see the humor in sad events. And the sadness in humorous events, for that matter. (I'm the one asking, at the end of a joke, "But wait, didn't that hurt the man's feelings?") I like the underside of things. I don't plan that in my novels, but it can't help emerging. 9. Your novels must make great reading for introverts, because the reader gets to look on at so many parties without actually being there. Are you yourself a party person?

Heavens, no, I flatly refuse to go to parties, and even to ordinary meals if there will be more than four or five at the table. This is the great advantage of being a writer-you get to attend only on paper, and leave whenever you like.

10. A lot of readers found their way to your books after seeing THE ACCIDENTAL TOURIST. Are any of your books in development as a movie?

Others have been made into movies, either for the theater or TV-Breathing Lessons, Earthly Possessions, A Slipping Down Life, Saint Maybe-and I believe a few more are under options. But I don't know very much about that side of things.

11. If you were a character in a novel, whom would you choose to write you?

What an intriguing question! I guess I would choose Eudora Welty, because she viewed her characters with such affection and kindness. I know she would be tactful about my foibles.

12. Have there been female protagonists-or for that matter, male protagonists-with whom you've identified?

Because I look at writing as a chance to live lives completely different from my own, I have never chosen a protagonist that I identified with. At least not at the start. One of the best of story's surprises is that I always do come to identify, or at least to sympathize, to some degree with my protagonist by the end. The protagonist I most wish I were like is Justine Peck in Searching for Caleb. She was so outgoing and so reckless, and being Justine for a while was so much fun!

13. I'm guessing you're a Jane Austen fan. Who else among the classics do you return to for pleasure and inspiration?

I worship Jane Austen, whom I came to relatively late in life. (I don't think I managed to make it through one of her novels until I was 35 or so, and then I devoured all of them.) And I have read Anna Karenina over and over, and felt awed every time by its freshness and its immediacy. But the classics in general are not books I return to. Dickens, for instance, wears me out! I want to read prose that's more selective.

14. Who among the newer writers gives you special pleasure?

Almost all of my reading is whatever has recently come out. I am very impressed with the new generation of young writers, who seem to be beginning at a much higher level than my own generation. And then I have my longtime favorite authors, of course. I just finished Robb Forman Dew's new book, The Truth of the Matter, which I loved, and I'm now reading Philip Roth's Everyman and finding it both touching and absorbing.

November 06, 2006

Strange Piece of Paradise: exclusive author interview

Associate Editor Justin Ravitz recently spoke with Terri Jentz about her new book Strange Piece of Paradise

1) Now that the book is set for release and you're talking with the media, are you worried/curious about the response of critics, the public, perhaps fellow crime victims? What about the response of those involved: your old friend/fellow victim Shayna, your attacker, the hundreds of people you met and interviewed?

I've been worrying for weeks about absolutely everyone's reaction. I have to keep consoling myself with a quote from May Sarton that I've carried with me for a long time, although I've forgotten what work it's from: "At some point I believe one has to stop holding back for fear of alienating some imaginary reader or real relative or friend, and come out with personal truth. If we are to understand the human condition, and if we are to accept ourselves in all the complexity....we have to know all we can about each other, and we have to be willing to go naked."

2) Tell me more about the many years in between the attack and when you finally decided to return to Bend and investigate the crime yourself. What finally inspired you to do this?

The event was one defining moment that changed my life forever. Only I didn't figure that out until fifteen years had passed, after a period where, I didn't ignore it exactly, but I refused to acknowledge its importance in my life. For one thing, I noticed a deadening of my earlier vitality. I was learning that I was paying for what I had surpressed. I didn't know it then, but I was suffering from the classic symptoms of Post-Traumatic Stress Disorder. So in 1992 I decided to return to Oregon to look into what happened the night of June 22, 1977. Suddenly I wanted to know: Who did it? How does this violent event make sense in my life? The material I gathered became a book and the book became the vehicle, both to stretch myself as an artist, and to work out my issues as a victim.

3) So many locals opened up to in startling detail about the Cline Falls attack--yet no one ever came forward with some very vital information about your alleged attacker. What do you think accounts for this?

If I can boil down this complex mystery to one simple explanation: the citizens were waiting for police to take care of it, and the police were waiting for the citizenry to call in tips. I myself did not call police in the late seventies to make sure they would hold my attacker accountable. So I suppose I was behaving as passively as many citizens in that community. We all needed to take more action. The police, the citizens, and include myself.

4) Do you think this crime and its lack of resolution could have happened anywhere else but in America? Why or why not?

I certainly do think it could happen elsewhere than in America. I work with an organization that works to stop violence against women worldwide, Equality Now, and the head of that organization wrote in response to my book: "So many of the cases we take up echo the same call for justice, too often unheard, and in so many different cultures, the similarity of police indifference/incompetence/corruption leading to a culture of impunity seems strikingly universal." (I want to emphasize that she is referring to the police reaction to my case in '77).

5) You're also a screenwriter. So many of your memories, your encounters and how you piece together your attack are visual; the mythology of the American West, bolstered by images in film, literature and pop culture, figures heavily into your initial bike trip and all your subsequent visits to Central Oregon. Would you ever conceive of a film adaptation of this book?

I promise that a film will be made of this book. Way back in 1992, I started this endeavor as a screenplay and soon it became clear to me that the story was too complex to fit into the rigid parameters of a two-hour film, and I began my book. This summer I face the task of pulling threads out of this huge tapestry to weave into a simpler story that will work in film. I'm really looking forward to refreshing my artistic task by taking fictional liberties with my own history.

6) One of the most shocking details of your attempted murder is Oregon's old statute of limitations, which prevents your attacker from ever serving time. Are there similar laws throughout the country? Any idea if there's any movement to reform this?

In the 90s I did some research on a random sample of a few states, and found that their statute of limitation for attempted murder was as little as three years, or five years-- and in a few states, there was no time limitation. I don't know whether these same states with narrow time limits have changed since I looked into it. My understanding is that generally it takes someone to put a face on the issue before the pressure builds to change.

7) Once book promotion's over, what's your next move? Where do you go from here?

I have multitude of film and book projects backed up. I'm so eager for the day when I have time to dig into them. Then I'll know instinctively which projects to give priority to, and I'll be launched into the next cycle of my artistic life.

8) Next year marks the 30th anniversary of the Cline Falls Attack. Do you have any kind of ritual on June 22? Do you still think about the attack on a daily basis?

While I was investigating the story in the 90s I had a kind of informal ritual on June 22, but it's been years now that I've even taken notice of the day when it arrives. By exploring the event so deeply I have neutralized that day. I certainly don't think of the attack on a daily basis. Of course the bonds I have forged in the course of my investigation, and the learning I have done, inform me every moment of every day.

9) Do you pay attention to violent crimes as they're reported in the media? Do you consider yourself an activist like your friends Bob and Dee Kouns (whose daughter, Valerie, was murdered)?

I do pay attention to violent crimes as reported in the American media, although not with the same scrutiny as I once did. Yes, I absolutely consider myself an activist. I've volunteered for the Rape and Battering Hotline of the feminist organization, Los Angeles Commission on Assaults Against Women -- and as I said, I'm a major supporter of Equality Now, which has been effective in helping eradicate rape, domestic violence, sex trafficking, female genital mutilation, honor killings, among other human rights abuses against women all over the world.

10) Why do you think your attacker spared your life and Shayna's?

I don't think my attacker did spare Shayna's life. He had to know he killed her when he saw her head wound. He did know that he left me alive, and why he left me alive is one of the central mysteries of my story. I don't think we'll ever know for certain. I don't think even he knows.

11) In the course of your extensive research and frequent visit over several years, you found another home of sorts, a community of friends, confidantes and protectors, among the people of Central Oregon. Do you keep in touch with anyone there? Have you returned to the area for visits unrelated to your investigation?

The criss-crossing of my fate with that of others in that Central Oregon community and in the Willamette Valley is a central theme of my book. My connections to many of those people provided a nourishment that still sustains me. I consider Boo, the woman who rescued me, and Dee Dee Kouns, members of my immediate family. I have many other friends there too with whom I will stay in touch for a lifetime-- I can say I lead a parallel existence in Central Oregon. I even consider myself part of history there.

 

November 02, 2006

How it went down at KGB

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Quality Paperback Book Club (QPB) re-inaugurated its "QPB @ KGB" author reading series on Halloween night with a book that appropriately explored a masquerade, of sorts, by a brave, empathetic journalist: Self-Made Man: One Woman's Journey Into Manhood and Back Again, the acclaimed New York Times bestseller by Norah Vincent. Proving grounds for so many authors of fiction and non-fiction, the storied downtown literary bar KGB (at 85 East 4th street in the East Village) welcomed QPB and Vincent, whose brilliant, thought-provoking book was recently offered as an Alternate Selection in exclusive early paperback. After introductions from KGB Non Fiction Series Director Kelly McMasters and QPB Associate Editor Justin Ravitz, Vincent took the microphone, settled on a barstool, and read from Self-Made Man, which relates her year-and-a-half sojourn as "Ned," in which she disguised herself as a man to discover what it's like living in a "man's world." (Strip clubs, monasteries, men's retreats). Her spirited reading was followed by an extended Q&A session with audience members; KGB patrons had countless questions to ask about Norah's experiment--how she did it, how she endured it, the biggest, most disarming surprises. Attendees also enjoyed QPB Calendars of Days--a complimentary giveaway and thank you on behalf of QPB. Stay tuned for the next QPB @ KGB event, scheduled for this January.