A Letter to America

Dear America,

I love your "service with a smile". I love your twang... most of the time. I love your artists, your bluster, your swagger, your grand buildings with the names of philanthropists on the front. Your optimism, even when your economy sucks.

I love your absurd portion sizes, your ridiculous menu creations (donut french toast? whipped cream on everything?), your retro diners, your retro grocery packaging, the way you say "uh-huh" instead of "you're welcome". I love your opinionated self. I love your free refills, and the fact that you still have dollar bills, so that holding three of them feels like money and not change.

I (have grown to) love (even though it drives me CRAZY) the perverse dedicated way that ALL the gardeners in LA absolutely refuse to dead-head their roses, leaving overblown, blousy roses outside all the buildings, like aging starlets in faded summer dresses (scheming to hide the new blooms).

I love Broadway, and paying the U.S. price on things, even though there's the exchange rate to factor in. I love that I can justify this blog entry by pretending that it's an assignment for "The List as Post-Narrative Structure". I love that your sale prices are actually a bargain and not just marked-down mark-ups.

I know we don't agree on everything, and that I could make a list just as long with negative things, but I won't, 'cause that's not what love is about.

Scandal and Disgrace

This is a lazy blog post.

"The present letter blog post is a very long
one, simply because I had no leisure to make it shorter."
Blaise Pascal Lettres Provinciales, XVI

If I save this as a draft, I'll never come back to it, so I'm posting it as "rough notes" and perhaps I'll write more on this later. Keep in mind I haven't finished reading Disgrace yet. Feel free to add your thoughts and free associations in the comments!

From the Oxford Dictionary of Current English (1993):

Scandal
n 1- cause of public outrage
2- outrage etc. so caused
3- malicious gossip

Disgrace
n 1- shame; ignominy
v 2- dismiss from a position of honour or favour

Disgrace (1999)
- a male professor sleeps with a young female student
- male writer: J. M. Coetzee
- Booker Prize Winner (1999)
- Nobel Prize Winner (2003)
- motion picture starring John Malcovich (2008)
- screenplay by Anna Maria Monticelli
- (recommended to me by two different men in their forties - not teachers!)

Notes on a Scandal (2003)
- a female teacher sleeps with a young male student
- female writer: Zoe Heller
- Man Booker Prize shortlist
- motion picture starring Cate Blanchett and Dame Judy Dench (BAFTA, Oscar, Golden Globe nominations for both) (2006)
- screenplay by Patrick Marber
- (picked it up because I was impressed with the film cast and the library book's cover)

Wikipedia on sexual relationships between students and teachers.

My initial thought that led to this blog post was simply, did one deserve the Nobel Prize and not the other? (One might ask, is the Nobel Prize worth winning with this judge's attitude?)

I just cut 133 words re: gender bias, 'cause I had nothing new to say: Men have dominated as short/longlisted authors, jury members, and winners in the past 30 years. I didn't want to wade into gender-bias issues.

But can you discuss sexual relations between a teacher and a student without wading into gender issues? It's a tangled mess of gender-roles, age-differences, power-wielding, and questions of consent.

So:
Have you read both?
How do they compare?
What did you think?
Did you see either movie?
Are they more similar to each other, or to other works? (Oleanna and Pretty Persuasion or others?)

Well? You only get points if you participate.

The Story Prize

The Story Prize winner is Tobias Wolff.

I learned about it from the National Post's book blog, The Afterword.

I've only read a few stories by Wolff and I enjoyed them. I guess this would be a good occasion to buy his latest story collection (or put it on hold at the library) and read some more.

The runners up were Jhumpa Lahiri (whose work is fabulous) and Joe Meno (whose work I have not read).

The Portable MFA

I got The Portable MFA from the library. I am on page 28. So far it is excellent. I've worked through my mini-drought and I've written 793 words this evening. Hurrah.

The book is meant to be a portable summary of the lessons you'd learn in the New York Writer's Workshop and so far, the fiction portion is quite good. (It also address magazine, screenplay, and non-fiction writing.)

I especially recommend the Introduction by Tim Tomlinson where he discusses the uses of an MFA (and abuses, too, in programs that are poorly taught by lazy teachers). His list of top ten flaws of Creative Writing MFA programs should be required reading for anyone applying to/pursuing an MFA program and for those teaching one.

While there is nothing radical in the fiction section, I much prefer Tomlinson's approach to teaching plot and structure to McKee's. A lot of the story set-ups he examines are familiar, but I've never looked at them with a writerly perspective as story forms.

So far so good. I'll let you know what else I discover.

Query Letters

Taking another stab at writing a query letter for agent submission feels about as fun as taking a stab at my own gut with a rusty knife.

Naturally, I can't just go ahead and start writing it. I must read everything anyone ever wrote on the inturwebz about query letters first.

You can join me!

Agent Query
So You Wanna (Write a Query Letter)
Nelson Literary Agency advice
The author of "The Art of Kissing" dishes query letter advice*
Rachelle Gardner, Literary Agent, on how she likes her query letters
Poewar, a blog, on the QL
eHow makes it look easy.

Plus all the links to agents, etc., I have on the side over there.

So, if you would just read all those, summarize and send me a 1-page synopsis by tomorrow, that would be great, thanks.

Yeah, yeah, back to work, I know. But you can't expect me to write a query letter without breakfast. I'm sure I'll write a spectacular letter that will entrance agents and garner me huge advances... just as soon as I've had some brioche french toast and another cup of coffee.

*I don't make this stuff up, I just google it.

Don't Get Me Wrong, Some of My Best Fiction is Science!

David Barnett present a good article (with a great title) about one of my personal bete-noirs: science fiction that refuses to be labeled so.

This annoyed me when Philip K. Dick moved from the Science Fiction section to the Fiction section at the store, 'cause he had "moved into the literary cannon", as my teacher at the time said. I call foul. His work is, was, and will always be science fiction - so why does he get "elevated" to the Fiction aisle, while Harlan Ellison stays in the Science Fiction section? (Did it have more to do with the movie "Minority Report" coming out at the time?)

What puts Oryx and Crake in Fiction? Is Margaret Atwood better than Octavia Butler? Puh-leeze.

Science Fiction, or SF, gets a bad rap because of it's hokey genre associations. Mystery novels, however, don't attract the same disrespect. You can write genre mystery or literary mystery, and your work will be in the mystery aisle with no one pooh-poohing it either way. But if you happen to have a science fiction slant to your novel, then your publisher will take great pains to keep it quarantined from the Science Fiction/Fantasy section. It's just snobbery and makes me grumpy. (As I mentioned a few posts ago, Jonathan Lethem's book was SF marketed as "literary" and still crap.)

I'd be quite happy to do away with most of the categories in the bookstore starting with "Books for Her" tables and "African-American" shelves. I don't like ghettos for people or for the written word.

Spider Robinson wrote an article once delineating between what he writes, "science fiction", and that other, silly genre stuff, "sci-fi". To me, it was a meaningless distinction. (Sorry, I can't find it to post.) IMO, the cream will rise to the top no matter what you call it, and people will gravitate to whatever stories they want in the moment. You could put Anna Karenina in the Romance section and no one's gonna mistake it for The Greek Tycoon's Virgin Wife!

There is a lot of good science fiction out there - Heinlein, Willis, Butler, Robinson, Varley, Hopkinson, and Ellison are just a few. So for "mainstream" authors to write science fiction and then shirk the label does a disservice to all the great SF out there. Why are we still at the not that there's anything wrong with that stage? If, as an author, writing SF is an aberration for you, it would be much classier to say, "There's a lot of excellent science fiction out there, and I'm proud of the company my book is in".

What do you think? Does it matter to you if it's called science fiction, sci-fi, or speculative fiction? If you had to get your Murakami fix from the SF section, would you be caught dead there? What about vampire fiction - is it going to demand its own section in the basement?

Who am I and what do I write - Part III

Wandering Jews? is part of this year's Limmud, a festival of Jewish learning and culture.

"Wandering Jews?" looks like it grapples with some of the questions I raised in my previous posts, in terms of identity in the writing of Jewish writers. The seminar, however, will focus more on "place" and what is "home" and how or whether Judaism informs the idea of home in a Jewish writer's work.

The panelists are Adam Sol, Sidura Ludwig, and Rebecca Rosenblum.

Limmud (which means "learning" in Hebrew, I think) takes place on Sunday, February 15, 209. This particular seminar goes from 4:35PM–5:45PM. Maybe I'll see you there.

R.I.P. John Updike

New York Magazine's culture blog reports on the sad passing of John Updike. He was seventy-six.

Here's a Salon interview with him from when he was sixty-four.

Who am I and what do I write - Part II

In my last post I discussed whether I should "write what I know" in reference to my Judaism, and I posed the question, "What are my stories?".

Here is another look at an answer.
The problem with "my stories" is that I am reticent to claim ownership. Are they really mine?

They are my parents', my aunts' and uncles', my grandparents' stories. Do I ask for them and begin tape-recording, listening diligently? And then what? Would I have what it takes to shape them with the respect and finesse they deserve? Why do it? Can I give my relatives back their own memories? Would I be a writer or a ventriloquist?

Would I be honouring my genealogical history or exploiting my family for material?

I would guess that to a storyteller in the oral tradition, like Dan Yashinsky, stories can belong to one person (or group), but can be told by anyone as long as they are told faithfully. He is quoted as saying,

"Stories show you that other people have traveled before you," he says. "They show you that no matter what is happening in your life, someone else has gone there before you. Someone else has been there, come back, and at least has a good story to show for it."

Some of these stories (like those of my family) have already been told by writers like Andree Aciman in Out of Egypt, Hisham Matar in In the Country of Men, and Lucette Lagnado's The Man in the White Sharkskin Suit. Aciman's memoir beautifully and painfully renders Alexandria and the expulsion of Egypt's Jews, and Matar (whom I have not yet read), tells of the fear of his (non-Jewish) family during Khadafi's rise to power. Lagnado relates the contrast of her father's dashing life in Cairo society till Nasser's rise, and the cost on the family of delaying their departure from Egypt.

Some of my own childhood feels "told" in the first story (about Russian Jews in 1980s Toronto) in Natasha and Other Stories by David Bezmosgis. What my parents may have felt upon their arrival to Canada was projected so intensely on top of my own memories that I found it hard to breathe.

If I am to record the stories I have heard all my life, I must do it soon. These inherited stories are not mine directly, but I am free to try and preserve them or keep them in trust for future generations.

My friend, an Egyptian Christian (Copt), who introduced me to "Out of Egypt" says that even though it is not exactly his story, nothing comforts him and takes him back to his youth like the description of old Alexandria in the novel.

Maybe I won't know who the stories belong to until they are read.

Who am I and what do I write - Part I

When I visited my sister in Kansas the week before last, we went to services at a synagogue she was thinking of joining. I met a women there who ran a book group that focused mainly on books with Jewish themes.

"Are there any Jewish themes in your writing?" she asked.

"No," I said. "But I don't know why not."

*

If I'm supposed to write what I know, shouldn't I be writing... Jewish?
What are my stories? I am not a product of Ashkenazi Montreal in it's heyday - that incubator of Jewish literature. I am a transplanted Israeli, who came of age and happily assimilated in Canada. I can't (or won't) throw around "Bubbie" and "Zaidi" with any authenticity, and I don't want to be writing some kind of Jewish schtick. (Which, when I tried to read Goy Crazy on the recommendation of a friend, found that I couldn't choke down the first page. Sorry.)

*

So far, I have worked on chick-lit, YA, mystery and short stories. There is nothing overtly Jewish about any of the writing I've completed, and it would be far-fetched to say there are any "hidden" Jewish themes.

I don't want to create grotesque stereotypes, but I don't want to create two-dimensional Jews either. (In this 2003 article by Kera Bolonik , Grace from Will & Grace is lauded as a positive Jewish character on TV, but I had no idea the character was Jewish till the words "bat mitzvah" flew out of her mouth one day. I see Bolonik's point, but I always found Grace's Judaism superficial.)

Howard Engel's detective, Benny Cooperman, on the other hand, believably goes to his aging parents' house for Shabbat dinner, and reads like an authentically-drawn character whose Judaism is a fully integrated part of him.

As I've worked on this post I wonder if my problem is with my protagonist's name. If she is Jewish, then I've given her an Ashkenazi name: Mara Liefe. This means that I've set myself up for writing out of ignorance (or relying on popular representations of Ashkenazi culture to a large degree). Giving her a Sephardi or Mizrahi last name might allow me to create a more realistic Jewish protagonist - I could truly write what I know.

For now, as I revise structure and plot, this is a moot point, but soon Mara will have to leap off the page and into an agent's (or publisher's) heart. I will need to figure out whether writing Mara Jewish will make her a stronger character - or me a better writer.

Update

Last week I went to Kansas to visit my sister. Hurray for sisters and God bless America (and Boxing Week sales). Came home. Caught a cold. Stayed home for three days. Went out today to see humans and go to the library.

One day I will write a post about how much I love libraries, but today is not that day. I took out a book about cooking with your toaster oven. I am a big fan of toaster ovens, but that deserves a separate post too. A toast post. (I'm hilaaaarious.)

Any writing done?

Finally, yes! One fairy tale written (needs another pass or ten), and five chapters of Novel #1 revised tonight. Hurray!

Otherwise, I'm on a Michael Chabon reading kick, and a Cary Grant watching spree. (You don't really need an html link for Cary Grant, do you?)

As for 2009 - I have no goals, no impressions, no visions, no nuthin'. 2009 is a blank slate. 2009 is so blank it is practically see-through. And that's as deep as I get at 4:00am.

Quentin Blake Speaks!

As you may or may not have noticed, I've changed up the side links a bit. I've also added "Look/See" - which is a splapdash compilation of art and illustration links.

I don't know why I never looked for Quentin Blake's official site before, but it's terrific. There is a part of his site called Fossicking. (I guess it's an original Quentin Blake word for fossils/relics?) He picks something lesser-known from his 60-year-long portfolio and shares it.

What's even better, though, is that he includes an audio track(!!!) and speaks his notes (or in today's case, reads from the book he's illustrated). I would even understand if Blake had no website - he is successful enough not to need one. However, to go ahead and create one, and then go above and beyond the call by adding audio? Audio on an illustrator's site? This is truly a surprising and delightful way to create a presence on the internet.

(Thanks to the Graphic Bandit for 1/2 the sites on the Look/See list.)

Back When Toronto Inspired Illustrations

So the other day I went to my depilatrix and as always, while she yanks out my hair, we chat. She has terrific stories and this time she told me all about her husband's dream, which was truly fantastic. I won't re-tell it here. There was nothing naughty about it, but it's not my story to tell. Anyhow, the dream-story reminded me of Robert Munsch's story, Jonathan Cleaned Up - Then He Heard a Sound or Blackberry Subway Jam.

I re-read my little Annikins version today. (Annikins are and were mini-books "small enough to fit into tiny hands and pockets".)

The story remains terrific and the illustrations by Michael Martchenko are as light and charming as ever.

What surprised me, though, is the amount of nostalgia packed into the book that has nothing to do with the story. It is a fourth edition, printed in 1982. Annick Press, the publisher, was based in Toronto. They were distributed by Firefly Press (still are) - but it was a different time when the distributor's phone number was printed on the back inside cover.

The subway on the front of the book is the old red TTC train that was just being phased out when my family moved to Canada. The streetcar outside City Hall is also an old red car and City Hall itself (in the book) is the one at Bay and Queen - now known as Old City Hall. I would link to photos of old streetcars, but I can't find any. If you're not from Toronto and don't recognize the transit system or the City Hall, it won't matter. The only thing that may date the book for you is the "big shining computer machine" that Jonathan discovers at City Hall. Martchenko's illustration of it with rows and rows of reel-to-reel tape decks is a little quaint.

None of this, however, affects the story. It's still a funny story where moms want living rooms to stay neat, and bureaucrats spend $10 million on things that don't work. The story, 27 years old, remains delightful.

I have also discovered that you can download audio files of Robert Munsch telling stories for free from his website. So you can hear the whole story right now! But you may as well order the Annikin book too. It's only $1.50, and the illustrations are well worth it. Buy a whole bunch and distribute them to children - all those Christmas toy drives are coming up soon!

RIP: Michael Crichton

I did not read Michael Crichton's books, but I'm still shocked and saddened that he's gone.

I'm surprised it took me two days to hear about it.

The one thing I remember about him is what my grade 11 biology teacher told me, which is that Michael Crichton (like my bio teacher) dropped out of med school to pursue writing (and one of his books is about his med-school experience).

According to his official biography on his webpage, this is totally false. He did graduate med school. In fact, his biography is full of over-accomplishment.

But his well-roundedness - in both the sciences and the art/craft of writing is inspiring.

More Childhood Books: Encyclopedia Brown

I loved Encyclopedia Brown growing up.

He was a good kid. Smarter than the grown-ups, unafraid of bullies, and his best friend was a girl. Actually, I forgot that his best friend was a girl till I re-read one of the books last night. The mysteries hold up well (and I even remembered some of the solutions - not solved, but remembered from when I was nine or twelveor whatever). The dialogue is a little dated, but that's a positive rather than a negative. The metaphors are funny; the sarcasm child-like and not obnoxious.

This part shocked me however:

On Tuesday, business was slow all morning till Elmo Thomas came in.
"Mothers," he grumbled. "They don't understand kids."
"That's no way to talk," protested Encyclopedia.

Sure, as children, we often feel our parents' decisions are unfair, but Encyclopedia's defence of parents and grown-ups in general is so rare, that it made me pause and re-read the dialogue - and notice how mild Elmo's complaint is. (Compare it to the way child 'sass' has been depicted in books, tv shows, and film since the 80s).

Philip Pullman has said that it's easiest to write a kid's story with an orphan as the protagonist, because parents just get in the way. I think he's right, and it's something that most writers intuit quite quickly (unless the parents are part of the story, or must be there to provide a safe haven for the end). When a child is the hero of the story, parents are usually absent (negligent/deceased/ill/in a parallel world):

• Sarah in "A Little Princess" - orphan
  
• Mary in "The Secret Garden" - orphan
• Lyra in "The Golden Compass" - orphan in the sense that her parents are not her guardians nor are they known to her
  
• Will in "The Subtle Knife" - only child to an ill single mother and long-lost father - in modern child psychology, Will would be considered "parentified"
  
• Huckleberry Finn - under guardianship of Widow Douglas and then later escaping a neglectful alcoholic father
• Harry Potter - perhaps the most famous children's lit orphan of our time
• Pippi Longstockings - living alone with her horse and her monkey; father lost at sea
  

There are many more that escape me now.

I guess I'm so familiar with a children's lit character having no parents, that I found Encyclopedia's respect for grown-ups incredibly sweet and startling.

The Encyclopedia Brown books are written by Donald J. Sobol and have been in print since the late '60s.

Addendum: How did I forget Oliver Twist?!

Too Late - RIP Julia Cunningham

Is there anything worse than tracking down an author or artist you love, and finding (via google) that wow, they are still alive, they are living in the place you will soon be visiting, perhaps you can arrange a meeting... only to find out that no, in fact, they have died - and so recently?

I am very sad to discover that author Julia Cunningham died this past February. I am glad she lived to the age of ninety-two.
I wish I could've met her.

Over the years, I have searched for info on her, but never found much till now. Her books, which I devoured around the age of twelve, seemed to go out of print. I was never able to track any down in used bookstores in my neighbourhood.

Now, of course, Alibris is fully-fledged, and copies of her books abound. "Dorp Dead" was re-issued by Harper Collins in 2001, but I never saw it here.

I don't remember much about "Dorp Dead". It is now referred to as a turning point in children's literature; the beginning of "gritty realism" in writing for children and adolescents. I'm sure I read it, but it did not make as much of an impact on me as "Burnish Me Bright" and "Flight of the Sparrow".

The obit and remembrances on the link above (from the Santa Barbara Independent) are very moving. There is a very nice fund set up for donations to be made in her honour to:
(The) Storyteller Children’s Center in Santa Barbara(which)provides NAEYC-approved, tuition-free early childhood education and care for homeless and at-risk children... Funds will establish Miss Cunningham’s Corner – a reading area where parents and children can enjoy books together, complete with a rocking chair, soft pillows and special books arranged on Patrick's Bookshelf.

Her love of France (which one of the eulogies mentions) shines through in "Flight of the Sparrow" and is probably responsible for provoking my ongoing Francophilia. (It also contained one of my earliest nerd-girl lit-character crushes for the urchin "leader" - a cigarette-smoking Parisian delinquent named "Mago", if I remember correctly.)

If you pass by her books - used or reissued - have a read. You will not regret it.

I owe a belated thank you to Mrs. Ranieri, wherever you are, for introducing me to the writing of Julia Cunningham.