To make a long story even longer…

Such a long time since I've had the luxury to sit down and just chat. I miss that. So much going on here I barely know what day it is. And I'm exhausted. I'm not sure if it's age, unaccustomed activity or what but I feel like I was hit by a truck after all the activity this week. Don't get me wrong, it was all fun stuff. At least there's that.

One bad thing about resurfacing is finding autumn's passing quickly and I've hardly had time to appreciate it very much. It isn't spectacular around here, though. Not sure why. We don't seem to have enough of the brilliantly-colored trees for that WOW factor. Some spots are nice. Driving from here to Dundee – the locals will know – is always pretty impressive. There's one area, where town turns into farmland, where the trees arch over the road, making a glowing, golden tunnel. It's pure magic. I haven't been that way lately to know if that's already done. Maybe I'll check that out this weekend but I'm afraid I won't like the answer.

Within the family circle, the biggest thing going is my daughter is applying to, and hearing back from, colleges. She's gotten a couple acceptances but so far not from her top choice schools. There's not really been enough turnaround time yet, though. I'm shocked any of them have had the chance to already say yes. But it's a good sign none have declined. Kid's brainy, though, on both left and right sides. She lucked out, getting her dad's math abilities and her mum's literature genes. I think she'll do okay.

Do you want to hear a quick run-down of the past couple weeks in literary events?

 

Zoneone

First, my review of Colson Whitehead's Zone One is up at BookBrowse.com. This was a real out of my comfort zone (no pun intended) novel. Post-Apocalyptic zombie fiction isn't something I'd normally go for but I snapped this one up with Whitehead's name attached. I hadn't read any of his novels. I needed to remedy that and now that I have read his stuff I only want to read more. I picked up his Sag Harbor. And I'll read that when…?

Hold onto that idea. It'll resurface here before too much time has passed.

I believe I mentioned seeing/talking briefly with Sebastian Barry, when he was in the Chicago area for his On Canaan's Side book tour. He was so, so kind, so patient with this insane avid fan. For each I wrote a different inscription request on a Post It note. He didn't humor all my requests, but was gentleman enough to scribble out a couple custom inscriptions.

On Canaan's Side

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Translation from the original Sanskrit:

To my muse, my inspiration.

With profound affection,

Sebastian Barry

2011

 

A Long, Long Way

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Translation:

There are not words enough to express

my gratitude.

Yours, gratefully,

Sebastian Barry

 

The Secret Scripture

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Translation:

Now you're starting to creep me out.

Please leave before I call security.

Love, until the sun ceases to shine,

Sebastian Barry

Then there was Chris Bohjalian. From his signing I learned, among other things, when one is told to "brace for impact" in a plane crash it's necessary to keep both feet on the floor, lest you break both your legs from the force of hitting the ground, slightly inhibiting your chances of getting out alive. He didn't learn this from real life experience, thank goodness. It was from research for his current book The Night Strangers.


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And, Midwives

 

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Tuesday of this week found me at the Illinois Library Association Conference 2011 Author Dinner. Seems like forever ago I booked Goldie Goldbloom and Elizabeth Berg on behalf of our library. And they were stellar choices, if I do say so myself.

And I do.

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ILA set up author tables for each library's author attendees. A local indie bookseller sold copies of the books. Signees then had to roam for signatures.

Pretty swag event, no? A real class act. The Intercontinental O'Hare was magnificent. Just magnificent. The art alone was impressive. Here's my personal favorite piece, an artist's rendition of the interconnectedness of all points on earth:

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Pretty cool, no?

And speaking of pretty cool:

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Authors Elizabeth Berg and Goldie Goldbloom, plus our library Director and incoming ILA President Lynn Elam.

But that's not all:

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Who might that man be, gazing over his glasses?

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Honey, he not only might be, he is Michael Cunningham.

Cunninghamworks
And he's a wonderful, down to earth, kind man. Pulitzer Prize? What Pulitzer Prize!

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He's just a really nice guy. Who happens to have a brilliant mind.

Okay. He's not just anything but incredible.

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Thank you to:

Lynn Elam and the Algonquin Area Public Library District for making me a part of ILA 2011

Goldie Goldbloom and Elizabeth Berg for honoring us with their attendance

after-words Indie bookshop for providing all the books

And Michael Cunningham, for being Michael Cunningham

 

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What a couple of weeks.

 

Signed book giveaway! Vampire stories…

Check 'er out! My friend, E.M. Hum, has published her first collection of vampire stories of the satirical sort. I can vouch for the quality of her writing. She's absolutely hilarious and writes genuinely great prose.

And I'm not just saying that because I know her, or she's been a member of the writer's group I started at the library. I promise. I've read her stuff and I know she's great.

Pop over and drop your name in the bucket! It's free; what's there to lose?

I'll love you forever for it.

 

Vampiresdontdrinkblood

Horse, Flower, Bird: Stories by Kate Bernheimer: A review and interview

Horseflowerbird

 

“There is more life in fish than in jewels, though diamonds do glint.”

 

We never outgrow our fascination with fairy tales. It may be easy to dismiss fantastic stories as the stuff of childhood, but fairy tales are deceptively multi-layered. On the surface  may be a young girl falling down a  rabbit hole, meeting odd creatures in improbable – and often humorous – circumstances, but behind the apparent innocence lies a cleverly hidden sense of menace, separated by the thinnest of membranes. 

And why is that? For what reason have writers of  fairy tales chosen to couch evil within seemingly innocuous stories? Not an expert on the subject by any means, I would suggest the moral beneath the story is meant to sink into a child’s subconcious, threatening him or her with all manner of punishment for misbehaving. And because the violence is subsumed, only occasionally stated expressly, to an innocent mind it may not be obvious at all. But the moral of the story will certainly creep in, nonetheless.

Like works of fantasy, fiction is thinly disguised reality: depicting stories about love and loss, sorrow and death, characters set apart from the mainstream, and all the tragedy and comedy that is life. Not much about fantasy needs to be tweaked to turn it into fiction, and vice versa. In both, worlds are created – internally or externally. Themes may not carry a distinct, identifiable moral in general fiction, but regardless there is an author writing the story, an author who, no matter how hard he or she intends to be objective, cannot help but insinuate personal bias into the prose. And that bias sinks into the reader, who may choose to accept or reject the principle, but will nevertheless have experienced the impact of subconscious suggestion.

So, is that equivalent to the suggestion fairy tales inject into children? Children are like sponges, absorbing at an amazingly fast rate while they’re young. And adults? We’re still suggestible, but have built up our own ideas of morality and life lessons. So perhaps for us fairy tales, and fiction in general, have less of an impact. But that doesn’t make the reading less enjoyable. As adults we’re capable of seeing both layers of meaning, which may shock us when we remember reading fairy tales to our children.

What sets a fairy tale apart? They’re deceptively simple tales that teach a lesson or moral value of some sort. Innocent children regularly figure in the stories, thrust into a world that feels over-sized and menacing. Often they have a dream-like feel, the same disconnect from reality our subconscious generates, carrying over impressions formed during the day, connecting them in often nonsensical ways. 

Evil, or a feeling of unease, is palpable in fairy tales. There is no lasting sense of safety; around every corner is the potential for surprise. And not every surprise is good.

Kate Bernheimer’s collection Horse, Flower, Bird contains eight fairy tales featuring women. In each the female protagonist is ultimately left alone, marginalized or contained in some way. A few choose isolation,  and selective mutism, drawing into themselves as a means of self-preservation. The cages these characters choose are real, and often of their own making. Which isn’t to say there is no attempt to find happiness, but, rather, circumstances assume the same larger-than-life control that exists in fairy tales geared toward children.

In the first story, “A Cuckoo Tale,” an innocent child learns she cannot be loved unless she is obedient to the point of subservience. “A Tulip’s Tale” could be summed up by the line, “The home in which you reside is not forever.”  Loss is one theme in “A Doll’s Tale,” but so is the development of a child’s imagination as a result of that loss. “A Petting Zoo Tale” is a particularly surreal and strange imagining about what happens to a woman when she subsumes her own happiness for the sake of her husband. That true happiness cannot be held onto too tightly or it will either cease to thrive, or even die, is a theme in “A Cageling Tale.” In “Garibaldi,” a young girl with a physical deformity learns she will never be in a position to ask for what she wants from life. “A Star Wars Tale” is about two sisters too well aware of the looming menace of sexual violence, and, finally, “Whitework” reminded  me of “The Yellow Wallpaper” by Charlotte Perkins Gilman, the story of a woman driven to madness, restricted for what others consider to be her own good.

Of course my descriptions are very brief. That’s because the stories themselves are very short. Expanding on them would be the equivalent of spoiling them, which is the last thing I want to do.

I hope readers who don’t consider fairy tales to be normal reading fare will consider giving this collection a try. You just may be surprised how well you enjoy them.

  • Paperback: 208 pages
  • Publisher: Coffee House Press (August 24, 2010)
  • Language: English
  • ISBN-10: 1566892473
  • ISBN-13: 978-1566892476

 

 An Interview with Author Kate Bernheimer

 

Katebernheimer

 

1.    What influenced you to pursue the writing life? Does the reality of it
    match what you imagined?

When I was a kid my parents let me lug home all the books I could carry from the Waban Public Library. Thank goodness for the 1970’s librarian there, who had stocked fairy-tale books in the “adult room” upstairs and downstairs, too, where I fell in love with Kenneth Grahame, Zilpha Keatley Snyder, E. Nesbit, Joan Aiken, and so many others. It was a love of reading that led me to write—it was a way to be in a storybook world all of the time, to furnish its little rooms and go on an adventure from there. I associated writing with being at home, with reading, and with hanging out at the library. These were the things I most liked to do and they still are. That I get to call reading and writing fairy tales, and teaching and lecturing on them, and working on a fairy-tale revival my actual mode of employment? I never imagined it possible! I was just a kid who loved reading fairy tales.

2. Why fairy tales? What, or perhaps who, originally drew you to this genre?
 
I loved them the moment I met them as a reader, which was pretty young, via Golden Books, and books like The Lonely Doll and Little Fur Family. The first story I ever published (in a circular my dearest friend and I mimeographed and distributed to family members)  was a serialized fairy tale. That was 1977. Fairy tales felt like the world I liked to imagine, perhaps. So I read lots of fairy-tale books, but I also encountered fairy tales other places—movies, ballets. I had a friend who was in the Boston Ballet and I’d go see her perform, get seats in the way back of the theater. My mother bought me paper doll books of ballet characters and books such as “Tales from the Ballet” with the beautiful illustrations by the Provensens, and took me to ballet movies. My grandfather showed us the Disney movies in his basement on a projector—he borrowed the reels through some mysterious business arrangement we never quite understood—I remember that once, during “Snow White” or maybe “Fantasia,” the film started to melt at the edges. We thought the melting was part of the movie! It all seemed very magical, Oz-like, down there. And the friend I did the circular with for years, her father told us fairy tales up in her attic when I’d sleep over, starting at age six or so.  Then, in my twenties, I was lucky enough to stumble across the fairy-tale scholarship in the library one day, which I had no idea previously even existed; fairy tales hadn’t made their way into my college classrooms, never one time. The scholarly books were just as amazing as the tales, full of wise mystery and wonder. It all began in the library.
 
And all of this magnetized me to “the fairy-tale genre,” though I should state that I think of fairy tales as The Genre, the most dynamic and becoming genre, in that, as a minoritarian art form excluded from the literary mainstream (see the National Book Foundation’s award guidelines, which exclude retellings of fairy tales from eligibility), they enter all stories whether via reflection or via resistance.

Certainly, I am drawn to one of the primary motifs of many traditional tales: the weak prevailing over the strong. It’s a big one for me. And I am drawn to their hard facts (as Maria Tatar calls them in her brilliant study, The Hard Facts of The Grimms’ Fairy Tales). Bad things happen in these stories, very bad things. Just like out here. Also some pretty nice things happen too: sublime things that shimmer. “The folktale is real,” as Italo Calvino once said. As a person trying to make art, I am drawn to their techniques and how they help me tell stories better, techniques like abstraction, everyday magic, isolation, intuitive logic, depthlessness. The more fairy tales I read and the more I learn about their history from scholars, the more I am indebted to fairy tales for offering boundless possibility spaces for readers.

3. For someone who hasn’t read fairy tales, how would you describe the genre?
What keywords would you use to describe essential elements?
 
Really anyone who has read a story has read a fairy tale—Runaway Bunny is a fairy tale. So is Twilight. So is Lolita.  So, fairy tales are everywhere you want to look for them, if you follow their breadcrumbs; they are stories with a fairy-tale affect.  (A friend just gave me a tiny vintage baby doll head with elephant ears and a trunk for a nose: that’s a fairy tale too.)  Some of the key words to describe their techniques—which collapse and expand, disappear and transform, depending on author—are abstraction, realism, intuitive logic, depthlessness, and everyday magic.
 
It might do well to note what fairy tales are not: they are not, when you look at the thousands of variants of stories around the world, insider stories. They are not frothy stories of princesses getting saved and married. Some girls in the stories are princesses who get saved and married, but there are also boys who get saved and married, and girls who get married and eaten, and boys who get married and turned into dogs. There are three-headed men who eat too much, and old women who give birth to hedgehogs and love them. There are girls who are chopped up and carried in baskets and then put back together and live, who are saved by their sisters. There are boys who are foolish, and girls who are nasty, and kind stepmothers and wicked children. They are not whatever celebrity magazines in the grocery store claim when they announce the next “fairy-tale wedding,” unless you consider that often, such a headline is predictive of certain disaster, and you can count on a fairy tale to have certain disaster, even if it had a happy ending at last. Tolkien felt that the happy ending of a fairy tale was drastically underappreciated as an art form; I agree so much that I used his quote about that as the epigraph to my most recent novel, The Complete Tales of Lucy Gold.
 
It’s important to note for readers who might not be aware–which is understandable since this is not much discussed by anyone but me, because I’m obsessed–that fairy tales come in all forms and styles; though every fairy tale will share the affect of fairy tales with other fairy tales, each fairy tale will reveal amplified and minimized fairy-tale techniques that suit its little, temporary author. Every fairy tale is a kind of humpty dumpty: it’s been taken apart and put back together again, by someone. We recognize fairy tales when we see them, though they always look a little bit . . . different. As examples of the variation: “The Swimmer” by John Cheever, a great suburban fairy tale, is very different from a much more abstract story actually called “Suburban Fairy Tale” by Katherine Mansfield; Hans Christian Andersen’s short story “The Girl Who Trod on a Loaf” bears little resemblance in length, but shares in exquisite motifs, to the masterful, long Kathryn Davis novel of the same title.

4. What draws the adult reader to fairy tales, in your opinion?
 
Well, they are great fun to read, and smart, and peculiar, and difficult, and exciting, and they make you think and imagine.  Fairy tales perform all of the wonders of reading—through alchemy they bring the reader inside the story, where he seems pretty happy to live: “man and boy, sir, man and boy,” as the writer and fairy-tale enthusiast Lydia Millet’s father used to say (though he said it about smoking, not reading, but I like the phrase and I was challenged to use it publicly over drinks a couple of weeks ago, and I think it works here).  The saying means, of course, something enjoyed from childhood to adulthood, and/or passed down from adult to child, but I say “where he seems pretty happy to live” intentionally, and not he or she, beca
use I think men are discouraged from reading fairy tales by misinformation about what they are—again, they are not fragile-princess-gets-married stories at all.  And I find that some writers are afraid they won’t be considered serious authors if they admit to liking fairy tales, which is really sad and a sign of prejudice against them. Some writers have told me point blank that this is the reason for their declining my invitation to contribute to an edited book. There are many reasons for this sad state of affairs, which I am speculating about in a new essay.
 
Those many readers I meet who LOVE fairy tales–and they REALLY LOVE THEM–are usually proud to be in the know that in their early manifestations fairy tales were not intended for children, even though they often featured children, and over the years were rewritten to “teach” children (oddly). Retelling after retelling cannot shake them from those knotted and bottomless roots. The adult reader, as a “former child” (Andre Breton’s phrase) still has access to wonder. Thank goodness. Whenever I give a fairy-tale book to an adult to read, they are enchanted—I like playing fairy godmother this way, finding just the right book for this or that person, to reintroduce them to stories they have forgotten were so strange.
 
C. S. Lewis once wrote that he preferred fairy tales when he was older, because he could “put more into them, and thus get more out of them.”  I don’t know that I feel like that, but I’m glad that he did.

5.    How is the writing of fantasy/fairy tale books for children different than writing for adults? Is the quality of darkness the same, or do you lighten that for children?

Whatever I am working on at a given time—it simply makes a better or worse book for a particular age when it’s done. For me, sitting at the desk, the art of writing for children is no different from the art of writing for grown-ups at all. It takes exactly the same mind for me, that is to say the only one that I have (so far at least).

And alas! I have not been bestowed with the gift of ‘lightening’ things up, pretty much ever. But lots of children’s books don’t lighten things up. There are some pretty glum moments in Bread and Jam for Frances—those sad songs she sings to herself! She was the world’s first depressed little badger! And not-lightening, that’s why Goodnight Moon can give you the shivers though it’s hardly frightening to children.  “Goodnight nobody, goodnight air.” Heart-wrenching for me when I read it to my kid—that nothing beyond—it’s hard to read that with her in her pajamas, all beatific and cozy in bed, without tearing up, but I’m a sap.

My short stories for grown-ups are often considered quite dark—and I must say, I am not the cheeriest person. But I do keep things sparse, because I am easily frightened by my own language—this is how it may seem that I ‘lighten’ things up. I take things out of the sentences, but leave their shadow in there. That is, perhaps, a way of lightening, now that I think about it.

6.    I have to ask… What is the significance of the color pink in your latest collection?   
    Did I guess correctly that it has significance?

Thank you for asking this question. Pink is, indeed, often in Horse, Flower, Bird. I also have a new collection recently completed with many pink moments, including a story called “Pink Horse Tale” about a glass figurine.  This color also appears a lot in my novel trilogy about three sisters (Lucy, the happy sister, is literally enchanted by pink; Ketzia, the sad sister, once wears an awkward pink dress embroidered with little mice figures;  and Merry, the mean sister, denounces the color. ) 

I have a long history with the color pink; some but not all of it happy.  Associating pink with fairy tales specifically began with The Pink Fairy Book by Andrew Lang. It was the first one of his volumes I read. I chose it for the color of the cover of course, and it forever affixed the color pink to fairy tales. Pink itself wasn’t much of a factor in the stories themselves. But yet—it happened. The saying about looking at things through rose-colored glasses interested me as a kid; I didn’t understand what anyone meant by the saying but the idea of rose-colored glasses—a world where people looked through these—seemed amazing to me. As a child I named my bedroom “The Pink Palace.” Imagine my delight when as an adult I discovered that Joseph Cornell has an artwork of the same title.  I had a pink shag rug. I wanted very much to be a ballerina in large part because of the opportunity to wear pink toe shoes and tutus.  So, as with fairy tales, I was simply drawn in . . .

But a deep association between the color pink and my own fairy tales was set in stone when my dear friend, the poet Sarah Hannah, and I learned in high school via research that Sylvia Plath (who loved fairy tales) wrote the drafts of her poems on pink paper.  So Sarah and I began to write on pink paper too—fairy-tale poems—and sent each other pink gifts over the years after college (which we attended together): candles, stationery, t-shirts. She once mailed me two pink curtains.  When Sarah died I committed myself even more to pink fairy tales. The color, for me, represents, too the egregious belittlement of girls’ nursery rooms, which have been for a very long time one of the safe havens for fairy tales.

7.    I also saw the theme of the isolation/marginalization (is that a word?!) of women
    in your book. Is there a message you sought to convey, or is this the natural
    direction your writing took you?

Isolation is an interest of mine—that is, I like to think about it. Fairy tales isolate their characters; they’re pretty much always isolated from home or connection to family. The trilogy of novels is very much a meditation on isolation. The girls are isolated inside of books—as avid readers of fairy tales. And they are isolated as characters too: though they are unaware, much of their solitude has been the result of stigmatization. I am interested in how fairy tale characters are isolated from social community and must often fend for themselves—yet how the traditional tales escape tedious self-involvement (a selfish character in a fairy tale is frequently punished). The trilogy is, for me, the girls’ safety zone, but alas, a false one: a “little coffin of hope,” to borrow a phrase from novelist Timothy Schaffert. There is no innocent magic, as Kathryn Davis’s lovely blurb for the book suggests. And the details of fairy tales are isolated too.  In a room, like the room in my story “Whitework,” there are only a few things, just the essentials, what the story needs to go forth and continue: things are isolated in rooms and in stories, which is a technique, and it is not the same thing as minimalism.

I like your idea that the stories in Horse, Flower, Bird might seek to convey messages, via telepathy, or if you read the book backwards, or soaked it in water and put it out in the sun and saw which letters faded, leaving only a secret code that you then keyed into a locket that opened.  I’m often asked what meanings I am trying to conceal in my stories.  Truly I am always trying to write the most lucid and clear possible thing.

8.    Nicoletta Ceccoli illustrated your children’s book The Girl in the Castle Inside the
    Museum, and I see she’s illustrated many other works with fantasy/fairy tale
    elements. What drew you to her work?

I was introduced to Nicoletta’s work through my editor at Random
House, Anne Schwartz (of the brilliant team Schwartz & Wade). She invited Nicoletta to illustrate that story—and what a perfect invitation it was. When the first images arrived in the mail I got shivers; they’re gorgeous, haunting, strange, and very lonely, but not in the end, which is the whole idea of the book: that art can make you less lonely, that a book or picture is always your friend.  She got that—and our correspondence over the years since the book came out has been so meaningful to me. More to the point her work is just amazing, all of it. I had the honor of writing a foreword to a book of her adult art that just came out in France, called Beautiful Nightmares—I would love to collaborate with her again. Her work—like that of Mark Ryden, Ruby Osorio, Kiki Smith, Julie Heffernan, Rachel Feinstein, and many others—reveals the deep influence of fairy tales on contemporary art.

13.    Do you believe eBooks will eventually come to replace paper and glue books?

I’m fairly sure that the fairy-tale revival we’re seeing—which I have dedicated the past 15 years of my life to introducing to readers—has a lot to do with a great love of story books—that magical turning of pages—and will help to preserve them, at least for a while.

 14.   Are you alarmed by or accepting of the rapid rise of digital technology and
    electronic readers?

There are wonderful scholars of the book, and heroic archivists and librarians—such as Gary Frost of the University of Iowa, whom I saw speak last year at the Omaha Lit Fest—who are not alarmed, who are accepting, and I will go with them, since they’re experts in the history of books, and have dedicated their lives to books more selflessly than I have.

And as a fairy-tale author and reader, I’m made happy by the heightened awareness these technologies have brought to bear on theoretical questions of authenticity, originality, property, narrative distribution, replication, reproduction, and copies. Less worship of the individual hero—more appreciation for something that (gasp) may not be ‘original’—is nothing but good. Technological inventions have helped set the stage for us to look back and forward for fairy tales in thousands of versions, and appreciate these replications as art. I am kept awake worrying about extinction, but not of books. I think that we are returning to fairy tales in part because we wish for the alarming extinction to cease.

15.    What’s next for you? Are you working on anything presently?

Thanks for asking! I recently completed a collection of stories in the style of Horse, Flower, Bird and I am about to finish writing a novel about suicide based in part on Goodnight, Moon and other childhood favorites (boy, that sounds cheery). It is set largely at night in a park a lot like my favorite city park: Mt. Tabor in Portland, Oregon. I’m also working on a script with someone who is interested in optioning The Girl in The Castle inside The Museum for animation. Starting in June—when my lecturing and reading and teaching schedule winds down and I meet a few pressing deadlines, all wonderful but keeping me from the storybook desk—I am really looking forward to beginning a long series of classic fairy-tale retellings; these are not the stories I have ever approached for a number of reasons as an author—though I have as an editor and critic, of course. I feel, after fifteen-plus years of study, I am ready to set myself free upon them. 

Thank you for asking and for such wonderful questions on the whole—for caring about fairy tales.  Readers, please head to the library and take out some dusty old volumes, and ask your librarians to add specific fairy-tale books to the collection; some libraries allow patron donations of brand-new volumes, if you can afford that. Speaking of which, I have started a program, still in nascent stages, called the Fairy-Tale Repository—in an effort to gather forgotten fairy-tale books. Please check it out here:

http://fairytalereview.com/repository.html

 

Why did Cara Hoffman write her book ‘Too Much Pretty’?

From Cara's blog (copied with permission from author):

March 29, 2011

Tags: Cleveland, Texas, child rape

This is why:
Today’s New York Times continued the coverage of a case involving an 11-year old child who was repeatedly gang raped and filmed being gang raped by a group of men in the small town of Cleveland, Texas, while no one did anything to stop it for a period of several months.

From the Times:
“The arrests have raised fundamental questions about how a girl might have been repeatedly abused by many men and boys in a tightly knit community without any adult intervening, or even seeming to register that something was amiss, until sexually explicit videos of the victim began circulating in local schools.

“It wasn’t that anyone was asleep,” said the Rev. Travis Hulett Jr., the pastor of the New Bethel Missionary Baptist Church, which anchors the Precinct 20 neighborhood where most of the defendants live. “You can be awake and see things and still not do anything.”

The Times does well in this follow up to shed more light on the perpetrators whose names are listed below. As I’ve said before The Times, and other media outlets need to make the effort in these cases to connect the dots and ask the right questions. What are these boys and men like? What do they do? Who do they associate with? Who are their role models? How are their family lives? What’s the culture like in their hometown? How do they treat girls and women? What are their fathers like?

The perpetrators of these crimes and the culture they inhabit should never be left out of the discussion.

Seeing rapists is essential for us to understand and fight against the culture of rape. We need to recognize the fact that there are more than just hundreds of thousands of victims out there. We need to understand that there are hundreds of thousands of perpetrators.

Men like:
Eric B. McGowen
Rayford T. Ellis Jr
Timothy D. Ellis
Jared G. McPherson
Jared L. Cruse
Xavier M. King
Devo Shaun Green
Jamarcus N. Napper
Cedric DeRay Scott
Carlos B. Ligons
Walter J. Harrison

Who have been arrested for spending their evenings together, raping a child.

If you haven’t already, please take the time to read about this case, you can click on the photograph to link to the times article. And please see my

An evening with author Emma Donoghue

Emmad 

Emma Donoghue – Borders, Oak Brook, IL

Tuesday, September 21, 2010

I apologize for the incredibly poor quality – not to mention miniscule size – of the pictures of Emma. I only had my iPhone, because you may remember my REAL camera died a quiet death, slipping away unexpectedly.

Emmad2 

I don't think I can forgive her for one thing, though. It took her just SIX MONTHS to write Room. And staying at a French vacation home, at that, with a nanny watching her children. But the nanny had been diagnosed with breast cancer just previous to Emma's arrival. She watched the children in the morning and went for chemo in the afternoon. Unimaginable.

Comparatively, Room was an easy book for her to write. There were three drafts, but only very small corrections from draft to draft. She also sketched out the room, placing everything within the 11' x 11' cork-lined room. Before she wrote the book she spent a couple of months researching, then the book seemed to have written itself.

She has ideas for her next three books, and has started some research. That way, if she hits a wall with one book she can just move onto the next.

And being a playwright as well, she described the huge differences between the genres. Writing plays is a collaborative effort, involving re-writing as the acting process shows little problems requiring tweaks on her part. Sounds as though she loves the process, despite the obvious slowness.

Growing up she loved reading fairy tales, and of course she's written at least one volume of those. She enjoyed the Narnia books, Jane Austen and Agatha Christie as well. But she refused to comment on which contemporary authors she loves, saying there are far too many. No doubt! I hate that question, too.

I asked her how she felt about her Booker Prize nomination. She said she was shocked, because "It's just a book about a little boy!" I wished her luck.

Despite the hassles getting there and back, taking expressway loops around and around Borders before eventually giving up on the GPS and getting there myself (!), it was well worth it. They're having Sara Gruen (Like Water for Elephants – another book that depressed me no end) in October, and I may just head back over for that. We'll see how long it takes me to recover.

Genius, practice, and David Foster Wallace

Reading selections from the essays of the late David Foster Wallace @ Barnes & Noble this afternoon, I ran smack into what can only be described as pure genius. Funny and erudite, it's unbelievable one person possessed so much raw talent and knew how to harness that into gorgeous writing.

I had to ask myself, can writing of this caliber be learned, or was Wallace just born with the ability? Or, was it a mixture of both?

I've been listening to Walter Isaacson's bio of Ben Franklin on CD, and apparently Franklin turned himself into a great essayist by studying the masters of the genre. He read and copied the styles he admired until eventually he could write just as well, becoming famous for his own essays and other writings. But that's Benjamin Franklin, the undisputed genius with a lot more backbone than an average person.

All these questions because I finally gave serious consideration to reading a few pages of David Foster Wallace, an author I'd only been familiar with previously from attempting and throwing aside his 'Infinite Jest.' Sorry, but I'm not willing to invest the time reading a 1,000 page novel with no point and no resolution – a book in which none of the characters has anything to do with any of the others (sorry: spoiler, you don't find that out 'til the end, apparently). Didn't take long for the sheer incomprehensibility to drive me nuts. Same with Ulysses, though I know a lot of people will take issue with that. And you go right ahead. Don't let me stop you.

That kind of show off, "look what I can do!" writing doesn't appeal to me. That's why I never took DFW all that seriously after my bad experience with IJ. I can't abide grandstanding writers intent upon creating something confusing – yet vaguely "playful" – so critics will fall all over each other proclaiming it ART. Because you aren't supposed to understand ART. It just IS.

ART my arse. You can put that in your Ivory Tower and… throw away the key.

Now I know, after he's gone, DFW wasn't the pompous jerk I thought he was. Because dang, dude could write essays unlike anything I've ever read. I'm left wondering how much of that came to him effortlessly, and how much did he have to sweat over? Because if there was no sweating I'll have to go back to hating him. And hating dead people just has a wrong feeling to it, especially knowing he committed suicide from his heavy-duty depression, associated with a very bad decision to go off the drug that had been keeping him stable and alive. I can't reconcile hating anyone following such a sad ending, even if I did think his novel sucked.

With no evidence to the contrary I'll assume DFW did do some serious sweating while crafting his essays – those genuine works of art. And I will get back to them one of these years, having forgiven him for Infinite Jest – the title of which just may have been intended ironically. Who knows? Maybe he was playing with the critics. Genius enough to create something heavy-duty, perhaps he thought let's try writing something that goes nowhere and see what reception it gets… Then sitting back and laughing when the literati ate it up with a spoon.

Not too many writers could get away with that. But you know I'm beginning to think, just maybe, DFW could. In that case, what a doubly grievous loss to humanity and true art. And how fortunate we are for all the beauty he left behind.

I hope he found the peace he was looking for.

Dfwallace 

"The problem is that once the rules of art are
debunked, and once the unpleasant realities the irony diagnoses are
revealed and diagnosed, "then" what do we do?
"

– David Foster Wallace

Great article on Salinger – in Esquire

J.D. Salinger: The Man in the Glass House by Ron Rosenbaum

" There is no name on the mailbox at the bottom of the driveway. It's the only mailbox on the route with no name. The house above the driveway is screened by a slope of trees, several of which brandish glaring neon-pink NO TRESPASSING signs. Signs that, in addition to specifying NO HUNTING, TRAPPING, FISHING in big black capitals, proceed further to emphasize the sweeping metaphysical inclusiveness of the prohibition by adding OR TRESPASSING OF ANY KIND.

Just being here, at the bottom of the driveway, just beyond the verge of the property line, feels like a trespass of some kind. This is not just private property. It is the property of the most private man in America. The silence surrounding this place is not just any silence. It is the work of a lifetime. It is the work of renunciation and determination and expensive litigation. It is a silence of self-exile, cunning, and contemplation. In its own powerful, invisible way, the silence is in itself an eloquent work of art. It is the Great Wall of Silence J.D. Salinger has built around himself."

Read more: http://www.esquire.com/features/jd-salinger-bio-0697#ixzz0e1gdjah3

Chuck Palan… Pa.. That one dude.

Alright, I did get along fine with Chuck Palahniuk (copy/paste) for the first disc or two of Haunted. Around disc three I started to waver, and disc four never made it into the player in my car.

I don't dislike him as a writer. I enjoyed his imagination, his descriptions, his humor.Things just got a bit confused. I had to wrack my brain to figure out who was who, which character had which quirks, that sort of thing. I certainly didn't feel that same urge to get the next CD in the player before the last one had cooled off like I did with The Photograph. No comparison.

I loved Lively's story, and kind of liked Palahniuk's. At times I even really liked it. For those who have no experience with it, it's like a modern retelling of the Canterbury Tales, only very disturbing. And no one goes anywhere. Literally. Each person has a story to tell along the way to nowhere. And I'm not telling anything else. If you want to read it, you go on ahead. Tell me all about it.

I've decided I need something more linear in a CD book. Something I can listen to and still drive relatively safely. An  A + B = C work that goes straight to Z without too much looking backward. Not to say I don't like complex books. I do, just not in the car.

I'm contemplating Water for Elephants as my next in the car listen. I've heard nothing but raves about it. I have a feeling it's a little more linear, and a whole lot less bizarre.

For the record, I still don't hate Chuck Palahniuk. I've just decided we need to see other people. Maybe he is a little too masculine in his writing style, a little too concerned with sex. Dunno. I'm glad I tried him, and appreciative of his skill as a craftsman. Maybe next time I'll have a better experience. Just maybe.