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Colleen Mondor is a reviewer for Booklist, Bookslut, Eclectica Magazine and the Voices of New Orleans.
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After two quick trips to points both east and west, here is the current status of my reading life:
1. Lies in the Dust: A Tale of Remorse from the Salem Witch Trials by Jakob Crane/Art by Tim Decker. This graphic novel tells the story of Ann Putnam Jr., 14 years after the trials. Ann was one of the girls at the center of the accusations that led to the deaths of the so many. I never knew that she felt remorse--honestly I never thought too much about what happened to any of the girls. Crane does a great job of pulling readers in to Anne's adult (and that of the siblings she raises) and shows how much the attitudes of Salem's residents changed. (It's interesting to me that they blamed her rather than themselves.) Crane also explains why Ann did what she did & the influence her parents had on her actions.
Tim Decker's spare black & white line drawings are the perfect complement to the story, with sad and soulful eyes that can not be denied. A great read for 8-12 year olds (or teens who want to know what happened.)
2. The Family by David Laskin. Oh, this one hurt. Laskin tells the story of 3 branches of his Jewish family--the one that emigrated to the US and became financially successful (founding Maidenform bras!), the one that emigrated to Palestine and still lives in Israel today and the one that stayed behind in Eastern Europe and was 100% killed in the WW2.
It's not a memoir but a history and nearly impossible to put down. I liked that Laskin removed himself from the story and let the history speak for itself. So much to say on this book but mostly, that it needs to be read.
3. Dark Metropolis by Jaclyn Dolamore & The Cure for Dreaming by Cat Winters. I am putting these 2 in a piece with Celine Kiernan's Into the Grey about offbeat scary stories that I'm pitching to LARB.
Dark Metropolis is set in an alternate world similar to a certain degree to Europe during the two world wars. Thea's mother has been suffering from separation from her father, believed to be killed in a recent war. Thea supports them by waiting tables in a swanky Jazz Age-ish club along with her best friend Nan. When her friend goes missing, Thea turns detective and teams up with Freddy who is at the heart of the mystery.
In The Cure for Dreaming, budding suffragist Olivia lives in Portland, OR in 1900 with her father while her absent mother works in the theater in NYC. A hypnotist arrives to give shows in town and Olivia's dad hires him to "cure her of her dreams" and accept her role as a dutiful daughter (and future wife for some fine young man). Olivia and "Henri" bond on a serious level and end up changing some minds and seeing the world in a different way. (Though don't expect the happy ending that my summary might be suggesting.)
Both of these are good reads and creepy in unexpected ways and I'm looking forward to writing about them (and Into the Grey).
4. 14 Days to Alaska by Troy Hamon. Sounds exactly like the title suggests--an engaging journal of two brothers on a plane trip from Ohio to King Salmon, AK in a small single-engine aircraft. Part of the hook here is that the author was learning to fly as they went and the airplane was his brand new (57-year old) purchase. Hamon is funny and honest and the trip itself is pretty interesting. I'm reviewing this one for ADN.
5. Rewilding Our Hearts by Marc Bekoff. For Booklist, so that's all I can say!
6. The Public Library by Robert Dawson. I really loved this so much. Great pictures and wonderful essays. I think it needs to be widely read--Dawson does a great job of showing just why libraries are such a vital part of America's past & present (and future). I think a lot of folks who might not get that would understand better after this book. It's important and beautiful and powerful; probably one of the best books I've paged through this year.
7. Right now I have 2 more books going for Booklist, both of which need to be reviewed by the 14th. Otherwise, I'm going through a backlog of magazines which is always a good way to spend some time.
In the next few days I'll catch up on my reviewing and writing and share some cool family history pics among many many other thins I need to blog about!
TROUBLED TEENS have always been present in literature, long before the current crop of vampires and dystopian futures provided window dressing for their fears and struggles. Tales of addiction and separation, abuse and abandonment, have always been a staple of the young-adult publishing market, and their enduring appeal is easy to explain: young people are hyper-alert to injustice and pain. Not only do they have to get through every day (as we all do), but they often find themselves in powerless positions where their pain is discounted by the adults around them. Contemporary realistic fiction addresses these perspectives in much the same way that titles of the past have done, and writers such as Sara Zarr, Meg Medina, and Matthew Quick continue in the footsteps of such classic authors as S.E. Hinton, Robert Cormier, and Paul Zindel.
In the last several years, three novels have focused on a specific kind of teenage pain: that of having a parent who struggles with mental illness. This Is How I Find Her by Sara Polsky, A Blue So Dark by Holly Schindler, and White Lines by Jennifer Banash all give us teen protagonists trying to understand the destructive and dangerous behaviors of volatile, creative mothers who may be kind or cruel, depending on forces invisible even to them. These are powerful stories of daughters who have all been left to find their own way through the fits and starts of madness that fill their lives. They love their mothers as they believe they should, and they strive, as best they can, to protect them, either by covering up their behavior or keeping secrets about just how bad it has become. All three of these books explore the guilt and despair that result from a teenager's long overdue act of self-preservation, the personal fallout from the moment when the protagonist finally decides that her fate is separate from that of her mother's.
This Is How I Find Her opens when high school junior Sophie saves her mother's life after a prescription drug overdose. As the doctors take over and her mother faces weeks of inpatient treatment, Sophie turns to her long estranged aunt and uncle for safe harbor, but there is trouble there as well. Sophie and her cousin Leila were once close, but when Sophie's mother impetuously endangered their lives while behind the wheel of a car, Leila's mother cut off all contact. Sophie's aunt chose to guard herself and her family and, in doing so, left her niece behind to deal with the chaos.
Messy family relations are laid bare, revealing how wild and unpredictable a home can become while still remaining within the limits of the law. Sophie's mother, an accomplished artist, can control her mood swings with medication, but taking the pills mitigates the manic states she has come to rely upon as an artist. Her subsequent wild behavior and risk-taking drives everyone away. Sophie however, has nowhere to go and is left to act as caregiver. She sticks it out until the day her mother nearly dies and her inability to hold everything together can no longer be ignored.
Fifteen-year-old Aura Ambrose is in a similar situation in Holly Schindler's A Blue So Dark. Her mother suffers from schizophrenia, and Aura has been holding their lives together since her father moved out a couple of years ago. In one heartbreaking passage, Aura recalls a panicked phone call she made at age 12 from a soccer field, as her mother's delusions suddenly consumed her and she became convinced she was about to die:
But Dad didn't say, all worried, like I still expected him to, "I'll be right there." He just sighed, long and exasperated, right in my ear. Sighed so hard I could practically feel his breath, hot, coming through the phone. "Aura, I can't."
"You -- you --" I stuttered.
"I'm not even working in town today, Aura. I'm all the way over in Billings. And I can't just keep running off at a moment's ... Look, you're going to have to handle it, okay?"
My whole body was thudding and was so scared, so scared, suddenly I was the one who was drowning. I can't. I can't. You're not really going to do this are you? Why are you going to let everything fall on my shoulders, heavy as every brick building in the whole world?
Aura's thoughts sum up the horrifying realization that any teen with a mentally ill parent must face. Her parents break up, and Aura handles it because she has no choice. She keeps things under control until her mother slips into a near catatonic state. That's when she reaches out to her long absent grandmother who comes to the rescue, while her father, now in another relationship, also steps up to provide some guidance. Schindler makes clear that while these adults knew Aura was given a burden much too great to bear, they chose to ignore what was happening. They didn't do anything until it was almost too late and, even then, only because the teenager was falling to pieces.
Jennifer Banash's White Lines focuses on a teen who thinks she has escaped a mother with a combination of borderline and narcissistic personality disorders, but finds herself still very much in the emotional grip of a parent she cannot let go.
Seventeen-year old Cat seems to be handling things just fine; she is out of her mother's house and her wealthy remarried father has set her up in her own apartment. With New York City at her fingertips and no rules to follow, she holds an enviable position in her social crowd as a "club kid." She and her friends have a job of sorts; they are paid by a local promoter to bring in a teen cliental to various clubs. Her group is comprised of overlooked, ignored, or desperate kids who nominally attend high school, engage in all manner of drug-fueled activity, link up with sexual partners on a whim, and basically have what appears to be a full-time good time. They are also the kind of kids who kill themselves or get killed while no one notices.
Smart and self-aware, Cat knows her lifestyle cannot last forever but she also doesn't know what to do instead, and she's terrified of what will happen if she stops acting like she has it all together. For her, the problem is learning how to care about anyone again after the years of unpredictable violent abuse at the hands of her predatory mother. Consider this thought:
Sometimes I think that's what life really is -- the passing of small hurts on to one another, those circular moments of daily abuse. You hurt me, I hurt you. Rinse and repeat.
For Cat, it is the near death of a friend that finally prompts her to realize how close to the precipice she has come. This is the moment when she makes the phone call to her father, when she acknowledges not only that she's not okay, but that no one with so much psychological damage can be okay. Thankfully, after passively watching on the sidelines for years, her father steps up, and Cat is on her way to discovering what a safe and happy home can be.
Statistics on children living in homes with mental illness are difficult to come by, although a 2007 issue of Social Work reported that five million children in the US have a parent with serious mental illness. In Canada, a 2009 national health survey found 12 percent of children under the age of 12 living in that country shared a home with a parent suffering from at least one mood, anxiety, or substance abuse disorder. Children must also deal with the secrecy that surrounds many mental disorders, and fear of what might happen to a family often prevents honest and open discussion of the issue. As the teenage protagonists of these three novels come to learn, however, staying in the sphere of the mentally ill means ceding control of nearly every aspect of their lives. That moment of realization -- when the teen asserts that the life she's been living is not okay -- makes for a triumphant reading experience. These books represent gritty teen drama at its finest; they are powerful stories that teach readers what it truly means to be a young adult.
After more than 30 years of being the official photographer for the Iditarod, Jeff Schultz has accumulated 50,000 pictures on every aspect of the race. In his recent book, "Chasing Dogs," he highlights many of the more arresting images, providing readers with an inside look at the working mushers, dogs and volunteers who make the race a success. He also shares decades of memories, which include a lot of time in airplanes flying over the trail and one nearly fatal crash near Golovin.
As he recounts in the book, Schultz has flown both with pilots who were dedicated solely to moving him along the trail and also with Iditarod Air Force volunteers who picked him up along the way. Over the years, he has developed a unique appreciation for the intricacies of decision-making while flying in winter.
"I sometimes find myself stuck in a checkpoint, waiting for a change in the weather so the plane can leave," he writes. "There's a saying, 'When you have time to spare, go by air.' I used to be anxious when I was grounded by weather, thinking I was missing many opportunities. Although I agreed that the pilot knows best, often I'd try to persuade him to fly. Not a good idea."
In 1997, Schultz and Barry Stanley found themselves in Ptarmigan Valley, between the Rainy Pass and Rohn checkpoints. Stanley had towed Schultz out to the valley, snapping shots along the way, in a sled behind his snowmachine. Pilot Sam Maxwell planned to pick him up there later for Rohn. Unfortunately, the snow ended up being too deep for the Super Cub and Maxwell was quickly stuck in the fading daylight. The plane had to be dug out and the snow compacted to make a firmer runway for departure. In an experience shared by thousands of bush pilots and passengers back to the days of Crosson and Wien, the three men got to work until Maxwell and Schultz were in the air and Stanley "...fired up his snowmachine, ready to ride back home to the Rainy Pass Lodge."
The most compelling chapter by far is the author's recollection of surviving a plane crash in 1992. Along with pilot Chris McDonnell, Schultz was en route to the White Mountain checkpoint. According to the chapter entitled "My Life-and-Death Plane Crash," McDonnell decided to fly across Golovin Bay to avoid low clouds. They were approaching the village of Golovin as the visibility steadily decreased.
"We could only see a few hundred feet up the sides of the mountains near us," writes Schultz. "Chris felt it was a safer bet to follow the shore of the bay, where we could see willows and a few fish camp shacks along the shoreline. After a few minutes those willow and shacks were no longer there. Or were no longer visible. I don't know which."
The aircraft hit the ground with little warning and neither pilot nor passenger was able to recall how they exited the crumpled wreckage. Both men were seriously injured and it was several hours before anyone was able to reach them. Schultz writes powerfully of desperately working his handheld radio and finally making contact with Will Vacendak, a Bering Air pilot who came looking for their emergency locator transmitter. Vacendak stayed with him overhead on the radio until rescuers arrived on snowmachines. In the end, Schultz required multiple surgeries and it was clear both he and McDonnell were lucky to be alive.
"Our rescuers were astounded by what they saw of the plane. The landing gear was broken off, the propeller bent, the wings contorted -- one forward, one backward -- and the cockpit smashed. Richard Toymil described the scene later saying, 'The plane was all messed up. The windshield was broken, there was blood all over the dashboard, and there were bloody streaks where they crawled out'."
Schultz, of course, took pictures of the crash site before leaving the scene.
Many fans of the Iditarod are going to love "Chasing Dogs" for the intimate look it provides of the race and the many, many stunning photographs. But pilots should also seek it out for the rare glimpse it provides of yet another facet of the state's unique aviation environment. Schultz's recollection of the accident is particularly riveting and illustrates perfectly how important proper survival gear is for all Alaska aircraft. One expects to be dazzled by Jeff Schultz's pictures; the appeal of his text is a great surprise and something to share with pilots everywhere.
"Chasing Dogs" can be purchased at stores across Alaska and online via Jeff Schultz's website. For more information, wholesale purchasers can contact Taku Graphics.
Where My Wellies Take Me... by Clare & Michael Murpurgo is one of those books that is so pretty and smart that I hesitate to do much of any kind of review because it's too hard not to lump the superlatives and make it sound impossible. I want to tell you it functions remarkably well as a poetry anthology, that Pippa's story of gentle outdoor adventure will appeal to kids and parents who enjoy a good jaunt and that Olivia Lomenech Gill's scrapbook style design and artwork is classic in all the best ways.
Oh heck. I love this book and I'm not afraid to just say tell you so.
The basic story is simple: Pippa sets off from her kind Aunt Peggy's on a trek through the countryside (hence the need to wear her wellies). She visits a local farmer, takes a ride on his horse, has a lunch, considers some birds, pigs and dandelions, plays Pooh sticks, spies a fisherman (and dwells on the end of life for a fish) and makes it back to the village in time to be crowned the unexpected victor of a race.
What elevates the book is the accompaniment of so many impressive poems from the likes of Ted Hughes, Rudyard Kipling, Yeats, Rossetti and more. The poems are often short, easy to understand and directly applicable to the text. The combination, with the great scrapbook pages and Pippa's story, makes this a lovely read and also a book to pore over for hours while studying the art.
Some books are treasures and Where My Wellies Take Me... certainly fits that standard. The very young will like Pippa a lot but I think it actually might reach best for the 6 & up crowd - 8 -10 year olds could be the best age of all. Really, though, it depends on the child. You'll know when you look at it if it fits for the explorer in your life. I hope it does.
Here are a couple of spreads from the Olivia Lomenech Gill's website:
An assessment of life at the moment:
1. I have realized that the work involved in getting an agent after your agent retires is really exhausting. My synopsis is done but I need to update the professional bio (which feels like college all over again) and come up with a list of comparable titles (thus proving that while my proposed book is still unique, it is not too unique).
2. I'm also supposed to provide 2 chapters. As I am still researching the stuff for the beginning of the book, I'm not sure how I'm supposed to accomplish this in any sort of chronological order, but 2 chapters are 2 chapters, I suppose.
4. I will be at the Pacific NW Booksellers Association Tradeshow in Tacoma in 2 weeks, manning a booth for Taku Graphics & Shorefast Editions. If you are going to be there, stop by and say hello! (And enter our drawing for Alaskan awesomeness.)
5. My website is getting a bit of a redesign in the coming weeks. Mostly behind the scenes stuff (including a new commenting format).
6. I'm working on articles about aviation + mail in AK, fly-your-own-plane tourism in AK and the history of aviation and fishing. If this excites you, keep an eye at Alaska Dispatch News for more.
7. I think I have rewatched every episode of The Gilmore Girls a zillion times. I'm wearing out my dvds. (Perfect background watching for writing.)
8. I'm sending out 2 letters to churches with questions about family weddings from the past and purchasing some certificates from NYC. The genealogy continues.
9. I have to find out how to query for a Rockland State Hospital record of commitment because on top of everything else (and there has been a lot of stuff in my family history), we also had someone committed to one of the most notorious psychiatric hospitals in US history.
10. Of course.
11. Recent reads include Celine Kiernan's Into the Grey - a very atmospheric YA ghost story set in Ireland that I loved a lot. I'm hoping to get a review of it (and a couple of other scary-type books) submitted to an online review site. I'll keep ya posted.
12. I've been reading lots of small stuff around the edges. I can't seem to focus too much beyond my Booklist reading these days (which lately included a title about infectious diseases - oy). Last night I read Marie Claire magazine and it was almost too much. (I am however all over the 1930s articles on Alaska flying and fishing; that is my speed these days.)
13. I'm craving grilled cheese sandwiches. WHAT DOES THAT MEAN?
14. I have to send off a letter requesting archival information about the papers of a man who died 70 years ago. I thought I might be crazy to pursue writing an essay about him (I have no idea where I would submit it) but google searches bring up so little and there should be more. We'll see what happens. Maybe I won't find enough to write about - although that alone might be the point of the essay then.
15. I found out last week that one of my relatives died from complications due to syphilis.
16. Of course.
16. Pretty hard to top that, so I think I'll end here!
From Tingle Alley:
When Jane was working on this story on the history of Seventeen, we did a lot of emailing back and forth about Back to School magazine issues and how much we loved them. In junior high I read the hell out of every September issue of Seventeen, and the memory is all caught up with the anticipation of seeing people again after the summer and the belief that Everything Was Going To Be Different This Year.
One year, one of the pieces of editorial advice was to soak cotton balls with perfume and lay them on your next day's outfit so that the outfit would become pleasantly layered with scent. I did this DILIGENTLY for at least a month. Four or five cotton balls each night. So that's what September always feels like to me, like the time of year that you believe that you can soak some cotton balls in Jean Nate, tuck them in your clothes overnight, and become magically alluring the next day.
I was a huge fan of Seventeen, from about 1980 (7th grade) through high school. I identify completely with what Carrie writes here about the back to school issue. Every summer I plotted transformations to be unleashed upon the world (and school) in September.
It never happened.
But I still get that thought--that "bouquet of newly sharpened pencils"--thought about making my mark in the fall. Back then it was all about changing my clothes and my hair, now it's more about getting my closet sorted out and reducing the stacks of paper that threaten my laptop; about plotting future articles and organizing research notes.
September comes around again this year, just like it always does, and I'm so happy to see it. I love September and all the accomplishments it still dares us to have.
On the basis of Beth Kephart's recommendation in her book Handling the Truth, I ordered a copy of Hiroshima in the Morning through Powells. The author Rahna Reiko Rizzuto received a fellowship to go to Japan in mid-2001 for six months and research her planned novel about the bombing of Hiroshima. What she did not expect was the wrenching difficulty (in a myriad of ways) of parting from her husband and 2 young sons in NYC and how complicated it would be to navigate Japanese culture and gain the insight she wanted on her subject.
This is a really tough book to classify because if I tell you it will resonate strongly with women who feel torn between family life and their work, you will probably immediately think of "Lean In" and not give it a second thought. But that aspect of the book is important and needs to be noted. Rizzuto's personal/professional conflict is so intense and so tied to the unique aspects of researching a book, that any writer who has ever felt similarly torn is going to identify very powerfully with her words. She wonders if she is committed enough to her marriage and motherhood and also worries about her own mother who is suffering from the early stages of dementia. Are there other places where Rizzuto should be? It doesn't help when her husband starts to rethink all of his earlier support for the project after spending one too many nights dealing with sick kids. And all Rizzuto can tell him is that she is talking to people, visiting museums and temples, "soaking up" the culture of Japan.
She might be more convincing if she felt more certain that she was getting done the work she needed.
That's the other impressive aspect of Hiroshima in the Morning--Rizzuto's discovery of how complicated the Hiroshima story is. The book has excerpts from the interviews she conducted with survivors and they are the very definition of gut wrenching. Rizzuto finds herself overwhelmed by the horror of those stories, (you will be too), and transformed by them. Then 9/11 happens and her family arrives for a visit and again her vision of herself and the world goes through another change.
There is a lot about this book that made me think about writing, history, stories, the power of family and so much more. So many times as a writer I have questioned the value of what I choose to do with my life and anyone who has ever been in that position will understand what Rizzuto goes through. But the stories from Hiroshima are what has stayed with me more than anything else and they make me think yet again how much our history is dominated by the way we tell stories, and our collective acceptance of who does the telling.
By: Colleen Mondor,
Blog: Chasing Ray
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Five (!!) years ago, I posted about my grandmother's cousin, Evelyn. She died relatively young of a disease (I thought typhus) that was caught from a used mattress. Her toddler son died as well. At the time, I did not know Evelyn's married name nor her husband's name nor her year of death. All I knew was that she and my grandmother were quite close as evident from the many photos of them together.
Soooo...a couple of months ago I decided to get serious about Evelyn. Her mother was one of my great grandmother's younger half sisters and I hope to track down this missing branch of the family and learn more about my great grandmother's childhood from them. Also, I just wanted to find out what happened.
I searched through census records and found her with her married name. I found two marriages for her, both to Joseph Baranello. One was in 1933 which makes sense as her first child was born in 1934. The second was in 1937. They are the exact same names so I think it's unlikely that one of these marriages was a different couple. I have no idea why they got married twice but I'll run this down eventually, if only because the weirdness can't be ignored.
With her married name I easily found her death record and also that of her baby boy, Richard, who died two weeks before.
As it turns out, Evelyn died on my birthday in 1940. That kind of freaks me out a bit because I come from people for whom signs are everything. (Blame Catholicism and all those saints.) Evelyn and I had more in common than I thought.
She did die from a communicable disease. It looks like diphtheria from the certificate although I will have to follow up for another report apparently to know for sure. Her coffin however was ordered hermetically sealed (written in hand down the side of the certificate). This was established practice for communicable diseases at the time. And now I have the cemetery where she was buried although I won't be following up on that. (Because really - $105 to find out who she is buried with is just a bit high to me.)
Evelyn was 23 years and 10 months old when she died. She had two older daughters, Joan & Barbara Baranello. According to my grandmother, their father took them away and they were never seen again. I was told he was from South America or "someplace like that," except from census records he seems to be have been born in NYC in 1916. Finding Joan and Barbara (and their descendants) will require some more work, I know but finding them might mean more answers about my great grandmother's mother who is the real mystery in all this. So I'll keep looking but at least now I have Eveyln, and that is something good.
Just look at how happy she is in that picture. She smiles in every photo I have of her.
[Post pic from l-r, my grandmother Catherine, Marie Gonzales, Evelyn Baranello. Marie was Evelyn's mother and my grandmother's aunt. Taken 1935 - my grandmother was 16, Evelyn was 19, Marie was 38.]
By: Colleen Mondor,
Blog: Chasing Ray
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This is the marriage certificate for my great great grandmother and her husband (who was not my great great grandfather). It has given me a lot of information including, on the 2nd page (which I did not scan), her signature. That finally proved her true name was Maria Filak. As her first and last names are spelled differently in all sorts of census records, it was nice to have that proven. (Even here they screwed up though--as you can see the clerk wrote in "Mary Filak".)
My problem is Maria's address. It is listed under her name and the number, "59", is clear but the street name gets unclear. Starts with an "M", has an "h", maybe a "c". It looks like a "St" at the end--a capital cursive "S" is pretty clear. But what street is this? Marchallow St? Hmmm - doesn't show up I'm afraid.
I just don't know.
The groom's address is 2913 8th Ave and the clergyman who married them was from 405 W. 125th St in Harlem, which I found out online is St Joseph of the Holy Family. (The oldest church in Harlem as it turns out.) But Maria's place of residence is a mystery to me and she is the one who matters most. Her whereabouts between 1886, when she arrived in NYC and 1895, when she married Rudolph, are unknown. In that period she gave birth to my great grandmother, whose father is also unknown. So pinning down any hint as to where Maria was is a very valuable clue in my family history search.
If any of you recognize the street, give me a shout. I'd appreciate any help I can get.
I just read and enjoyed immensely Ransom Riggs's Hollow City, the sequel to Miss Peregrine's Peculiar Children. Fans of the first book need only hear that the second exceeds it in every way, (which is pretty amazing as that book was fantastic), and those who have missed both and love a good story (regardless of whether you like young adult, new adult or just plain adult) really ought to read these books immediately.
But what I've been thinking about is what a good job Riggs did at crafting both of these books around the photographs he illustrates them with.
Riggs finds odd photographs in the usual settings: flea markets, antique stores and via collectors. In Miss Peregrine many of these were comprised of the individuals who made up the story: the peculiar children. In Hollow City he goes much further in using photos to illustrate not only people the children meet (and animals) but also significant events that occur throughout the novel. Clearly, the pictures were key to plot development and how he accomplished this is truly inspiring to me as a writer.
The other thing about the 2 books is that they remind readers how pleasurable it is to read illustrated novels. I greatly enjoy Barbara Hodgson's novels for this reason and Riggs has made me a big fan with how well he integrates his quirky postcards (which Quirk Books presents so beautifully in these lushly designed editions).
As to the plot--there's time travel (primarily late 19th to mid 20th century), "peculiar" children with all manner of odd talents (control of bees, weighing lighter than air, communicating via echolocation, etc.), and a major war between good and evil (of course!). World War II plays a big part in Hollow City, which allowed Riggs to use some evocative images (including the cover) and also amps the peril the main characters find themselves in.
But.....none of that is why I wanted to write about these books. My biggest reason to recommend them is to persuade adults to give them a go. Yes, there is a slight teenage romance going on here but it is subtle and kind and will ring true for many. More importantly the overall story is escapist fiction at its best; thrilling, creepy, smart and also quite hopeful. It's like nothing else I have read and reminds me a lot of Bradbury at his Something Wicked This Way Comes best.
Good books + cool photos. What's not to love? :)
Read Chap 1 of Hollow City at Ransom Riggs's site.
This ranks as the weirdest thing I have discovered thus far in my family history research.
My great grandmother had three younger sisters: Marie, Ernestine & Carol. All three of them were born in NYC (1895, 1897 & 1900). I knew they were born in NYC because all of their birth certificates are available online. These are not "people we heard were born in NYC" or "people we thought were born in NYC" but 100%, no doubt, for sure, born in NYC.
So imagine my surprise when I found Carol's naturalization papers.
I tracked Carol through the census records in the early 1900s, just as I tracked her sisters. I knew her husband's last name was Redmond and he showed up with her in the 1930 census (first name Frank). (I have no idea why they aren't in the 1920 census but I'll worry about that later.)
I knew Carol's son's name was Warren (I actually have a postcard he sent my great grandmother when he was in WWII) and there was was Warren, born in 1927. Everything about Carol was lining out as I expected, and I was just filling in the necessary blanks.
Then ancestry.com sent me a hint about Carol with a link to a naturalization record. This made no sense but I looked and there she was, my great great aunt Carol, with her place of birth in NYC applying for citizenship in the US in 1939. There is no doubt about this being my Carol (how many Caroline Freida Redmonds can there be in the world?), but it made no sense. The one thing that really jumped out at me was that the application stated she and Frank were married in Barbados and he was born in NYC in 1903.
None of this made any sense.
It got more complicated when I searched for her marriage certificate online and found it in 1919 in NYC. (Which is clearly not Barbados.) So....I think the clerk on the naturalization papers might have flipped it--Frank was born in Barbados and they were married in NYC. (According to the 1940 census, Frank was born in the British West Indies.)
But that's all Frank and not Carol and where Frank was born should not affect Carol's citizenship except....it actually did.
According to the National Archives website, there was a lot of confusion at the turn of the century over female citizenship. Just as foreign women became citizens upon marriage, the courts began to decide that American women could lose citizenship upon marriage to a foreigner. It finally became law in 1907. Under the act of March 2, 1907, all women acquired their husband's nationality upon any marriage occurring after that date.
If a husband eventually filed paperwork and naturalized into a US citizen, the woman then became an American....again. But if the husband did not obtain US citizenship for whatever reason, then the woman couldn't either because it was all totally up to the man. Basically, a woman born in the US, who lived her whole life in the US and never ever left the US could still cease to be a US citizen if she married a man who wasn't an American.
(My inner historian is screaming all about the 14th Amendment right now.)
Frank must have been British still at the time of their marriage and when Carol married him, she lost her US citizenship. Now why she applied in 1939 is still a mystery. I can find no record of Frank applying for citizenship however so perhaps Carol applied to get hers back after the laws changed again (and got rid of this insanity). Oddly enough, I think when she became a citizen in 1939, that would automatically make Frank one if he had never sought citizenship before. (Because, after all, he was then married to a US citizen. AGAIN.)
Maybe. Honestly, I have no clue at this point.
The key bit in all this is that Carol was born in America, fell in love in America, got married in America and then lost her American citizenship.This happened because Carol was a woman. It really makes all this immigration stuff today seem even crazier when you realize that once upon a time in this country even being born here wasn't enough.
I have ordered a copy of Carol & Frank's marriage certificate. Can't wait to see what that reveals.....
[Post pic of Carol, about age 15.]
From my article on the survey of Southeast Alaska up at Alaska Dispatch News:
In 1926 Alaska's aviation industry had barely been born. Ben Eielson had flown and lost the first air mail contract in 1924. Russ Merrill and Roy Davis made the first flight over the Gulf of Alaska only one year before. And future famous pilots like Bob Reeve, Joe Crosson, Bob Ellis and Shel Simmons had yet to make their marks. But as reported in the 1929 publication "Aerial Photographic Surveys in Southeastern Alaska," using aircraft to survey the territory was a logical choice. Although topographic mapping of Alaska had been conducted by the Geological Survey for nearly 30 years, progress remained slow-going and extremely hazardous with some regions still stubbornly inaccessible. Photographing by aircraft presented endless possibilities; it just needed to be tested.
It's just amazing when you think of what they accomplished with such crude equipment and poor weather reporting information. I'm always so surprised when I come across stories like this--what pilots accomplished back never ceases to amaze me.
Preparing the Ghost by Matthew Gavin Frank is without a doubt one of the more unusual books I have read in a long time. Described as "an essay concerning the giant squid and it's first photographer" it is, in my mind, first and foremost a writer's book. (Not that the natural history isn't fascinating.) It's about a writer (Frank) obsessed with a Victorian era naturalist and photographer (Harvey Moses) who was obsessed with the Giant Squid which he famously photographed in Newfoundland in 1874. There is also much here about humanity's obsession with the Giant Squid and the vast amount of mythology, literature and more that has developed around this still mysterious creature.
One of the most successful aspects of Preparing the Ghost is Frank's authorial voice--he is a key component to this surprisingly personal story and as much as it is about the life of a man in Newfoundland from more than a century ago, it is also, deeply, about Matthew Gavin Frank. On more than one occasion he veers into his own past trying to mine it perhaps for reasons why he has succumbed to this obsession. Standing in front of Moses's home, (privately owned) knocking on the door yet again and hoping for a glimpse of the bathroom where the squid was draped and photographed, Frank can't explain why he is very desperate to get inside. He keeps knocking, he keeps returning, he keeps hoping for a glimpse of where history was made and he knows enough to know that this stubborn persistence is part of the story he is telling and, written well, it is as compelling as every other aspect of the tale.
Preparing the Ghost reminded me a bit of Geoff Dyer's Out of Sheer Rage: Wrestling with D.H. Lawrence. Very famously, that book is about not writing a book about D.H. Lawrence and in some significant ways Preparing the Ghost is about not writing a book about the Giant Squid. Just as Dyer does write somewhat about Lawrence, so does Frank write about the squid. But there is also much more here about Newfoundland and houses and marriage and family and leaving home and traveling far and fishing and telling stories and lying while taking stories, (like confusion over who the fishermen were who caught the squid), and, of course, it is about how something like a squid could spawn stories that grew into myths and even now, has sparked a book about all of that.
I enjoyed the hell out of this book due in no small matter, I'm sure, to the fact that I've long been fascinated by the Giant Squid. I loved how Frank wrote around and about his subject and thoroughly enjoyed his appreciation of history. It's an odd little book in some respects--the narrative truly jumps all over the place--but Dyer's book is odd as well and what lifts both of these titles is the enormous curiosity and smarts of the authors. They are candid about their obsessions and frustrations and persevered to create something unique to literature. I learned a lot about the Giant Squid while reading Preparing the Ghost but even more so, I learned about writing. Highly recommended.
The graphic novel This One Summer by cousins Jillian and Mariko Tamaki is one of those books that really requires a teen sensibility to fully appreciate. Adults can certainly read it (and enjoy it) but I think if you are a 12 or 14 year old (girl especially) then This One Summer would have special appeal.
The set-up echoes the plots of many other summer novels from the past: Rose and her parents arrive at their cabin in Awago Beach for their annual vacation. Windy and her mother and grandmother are nearby, just as they are every year. Rose and Windy are set for some familiar hijinks: hanging out at the beach, bonfires and picnics, bike rides and, this year, renting some classic horror movies from the local store and getting the crap scared out of them them while their parents are none-the-wiser.
There are some serious undercurrents however--Rose's parents are in a troubled marriage and the source of their conflict, which plays out in dozens of little tense-filled moments throughout the book, is an ongoing object of concern for Rose. Also, she develops a small crush on the high school boy who works at the store and his turbulent relationship with a local girl becomes something she and Windy study with great interest. How couples work, or don't work--the whole concept of romantic love--is the mystery that unfolds for Rose as the summer continues. Windy is a little younger and for her it is mostly a game to watch but for Rose, there is a wistfulness that anyone who survived middle school will recognize. She pines for something that she is not yet old enough to understand. (This is pretty much everything you need to know about middle school.)
This One Summer isn't a sweet story though. The girls are pretty typical girls. They sling a few bad words around, testing them out for effect, and they are all about noticing the older teens, what they have, what they do, how they interact. The girls listen for everything and gather information on sex and flirting, pondering it like miniature Jane Goodalls in the wild. This is where reviewers really and truly must channel their inner teen to appreciate the book and understand how important and common these interactions are and how brilliantly the author and illustrator nail the essence of teenage girl.
[Momentary aside--I can still tell you the names of the first girl and boy in my 6th grade class to make out. I can't tell you much else I learned that year but Gary & Leighann, those two, (and the drama their kissing brought to a hundred lunchtime conversations when I was 12), I will never forget.]
I will be very surprised if This One Summer is not challenged at some point. There are parents who will not be happy to see the language or the sexual suggestions that Rose & Windy spy on. And I'm also sure there are reviewers who will say that not enough happens in this story or that the events are too melodramatic. For me though, it all rang as spectacularly authentic. Teenagers sit around and talk about each A LOT. They flirt, they fall in and out of relationships and sometimes things move far too quickly. Younger teens study the big kids, they follow, they stare, they spend hours talking about what they see. Not a lot happens in This One Summer but it is about as true to real life for most kids that you could hope to find.
That's why it's going to get challenged, and also, why so many teenagers, (again, girls especially), are going to read it again and again.
By: Colleen Mondor,
Blog: Chasing Ray
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Hallie Michaels first appeared in Deep Down as an Afghanistan vet who returned home to South Dakota after the unexplained death of her sister. Hallie was unusual not in that she had been injured while serving in the US Army but because she actually died--for 7 minutes--and came back. In South Dakota she found her father, a childhood friend and an attractive man in the person of Deputy Boyd Davies. She also found out that her sister shouldn't be dead, that there were mysterious forces at work in her hometown and magic was in the air.
Oh, and Hallie was in the middle of everything.
In Wide Open the story continued with the character of Death and the thin line between here and there and Hallie's precarious position as someone once dead putting her at extreme risk. There was also a lot about the weather (really) and Boyd's ex-wife, and plain old murder.
Now, in the final book in the trilogy, Strange Country, a very old mystery surfaces and Hallie and Boyd (and the sheriff's office) must investigate. There are still lingering remnants of magic, especially around Hallie's ranch, and the couple is entirely comfortable with the fallout from Wide Open. (This is where I tell you that you really have to read these books in order.)
But initially, with a murder by bullet, it seems like Strange Country won't be as much rural fantasy as police procedural (albeit with a few supernatural twists). But then Boyd starts following clues and making discoveries and before you know it there is a discussion about going to see Death, threats from the other side and lots of bad feelings (as in "I've got a bad feeling about this").
By Strange Country readers know Hallie well and they trust her. We like her because she is smart and thoughtful and not afraid to say she is sick and tired of the crazy that her life has become but still determined to do what she has to do to get stuff sorted out. Her relationship with Boyd has matured as has her friendship with gal pal Brett. Her father is only a whisper of a character in this outing (which is a shame) but there are appearances by several residents from town and the sheriff's department never disappoints. in fact we have so much invested in Hallie and Boyd and crew that the stakes seem much higher now--we really don't want anything to happen to anybody.
Yeah. We're going to get hurt. (Although I will say that it's okay to love all the horses and the dogs as none of them die.)
The Hallie Michaels series is not terrifying nor edge-of-the-seat-thrilling and I feel like I'm underselling it by simply saying that it is solidly entertaining. But these are good books--enjoyable books. I like the characters, I like the setting and I like watching the plots unfold. Hallie became a friend very quickly and that is cemented by the time we get to the end of book 3. We rarely see urban fantasy in the west, let alone South Dakota (thus the rural fantasy tag here) and I welcome it. I hope Coates returns to West Prairie City at some point in the future and gives us more of Hallie and Boyd (and Maker and the rest). She has created something that hits all the marks with these books and I'm sorry to have turned the last page.
By: Colleen Mondor,
Blog: Chasing Ray
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Oh, this is such a bleak book.
It feels small to write that because I don't think bleakness is truly appreciated anymore. We get our heartstrings tugged so frequently, so casually by many authors. What David Connerley Nahm does with Ancient Oceans of Kentucky is much more than convenient sadness as a plot point though. He takes sorrow to a whole other level and infuses this novel with so many careful layers of emotion that you feel drained by the end.
This is bleakness of the Scottish moors in a 19th century novel kind of sadness and the fact that it takes place today in Kentucky is just another layer of heartbreak.
The plot hinges on the childhood disappearance of Jacob, the little brother of protagonist Leah. There is no mystery here though--the missing boy is deep in Leah's past and there are no police to swoop in now and uncover clues and find him (living or dead). Jacob's disappearance is just the first of many haunts in Leah's life, the ghost that she revisits as the narrative wanders back and forth in time and Jacob disappears again and again in her memory.
It is not surprising that Leah has not gotten over the loss of her brother or wishes still for that thing we call (so casually) "closure". But Namh doesn't just give readers a character with an eye on the past; he gives us overworked Leah at her non-profit job helping desperate families in desperate situations and failing again and again at giving them what they need. (And not even trying for what they might want.) Leah can't save these people--there is no money to save them, no resources, no places to take them in or programs to give them assistance. All she can do is try and as anyone who reads the news these days knows, all the trying in the world isn't enough for all the need.
Leah is overworked and underpaid (of course). She's lonely and sad and can't forget her brother (of course). She feels guilty for what she said and did and didn't do when they were kids (of course). Her family was never the same after Jacob disappeared and now, she doesn't seem to remember what a family is anymore or why it matters. And she watches all the families come in her door and their disappointments break her heart even more. And then, maybe, Jacob comes back.
In some ways Ancient Oceans of Central Kentucky seemed almost too much for me to bear as a reader. But for all that this book includes a child abduction (a very unusual event), it is primarily a story of the most mundane aspects of life. It is about getting by, about hanging on, about the falling apart that happens when a family doesn't pull together. There are a thousand familiar stories in Leah's days and as Nahm uses her to anchor his novel, he touches on many of them. His fiction thus forces us to open our own eyes a bit more, to look a little deeper, to recognize the bleakness that fills our world.
The back cover copy says that "Ancient Oceans of Central Kentucky is a wrecking ball of a novel..." This is incredibly true; it reminds us just how horrific a wrecking ball truly is.
Clotilde Perrin uses a smart idea to show how similarly people live around the world in this stunning (stunning!!!) picture book. Starting at 6AM in Dakar, Senegal, she takes young readers into the lives of children on six continents as they eat, drink, go to school, play and sleep all at the same hour of the day. So, while a child is waking up in Senegal, another is sound asleep in Brazil. This helps get the notion of time zones into the heads of early readers (and Perrin's informational notes at the end help as well.)
Mostly though, while At the Same Moment Around the World is an educational book it is also a beautiful one and a chance to learn some geography (includes a map at the end) and see how much alike children and families are around the world.
Perrin takes readers from Keita in Senegal to Benedict in Paris then Mitko in Sofia, Bulgaria, Yasmine in Baghdad, Nadia in Dubai, Ravshan and Yuliya in Samarkand, Uzbekistan, Lilu near Mount Everest, Khanh in Hanoi, Vietnam, Chen in Shanghai, Keiko in Tokyo, Kate traveling between Ayers Rock and Sidney, Matea and Joany in New Caledonia, Ivan in Anadyr Russia, Abby in Samoa, Allen and Kiana in Honolulu, William in Anchorage, AK, Sharon and Peter in San Francisco, Samantha in Phoenix, Pablo in Mexico City, Diego (just born!) in Lima, Peru, Ana in the Amazon rainforest in Brazil, Lexi in Nuuk, Greenland, Antonio on the island of Fernando de Noronha and finally to Chloe onboard a ship in the middle of the Atlantic.
They are all living different lives and yet doing similar things. They are different colors, in different clothes in different landscapes (and different beds) but still, they are all the same and they are all living in the same moment. Perrin thus gives her readers not only something to learn from and think about but also a great lesson in the diverse face of humanity.
I call this a win on every possible level and a book that will be appreciated by adults and children alike.
For another look, Jules reviewed At the Same Moment Around the World for Kirkus in her column there and then followed up at her blog with some more interior spreads from the book.
By: Colleen Mondor,
Blog: Chasing Ray
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This was a surprise!
Unmentionables begins with a bit of a bang as main character Marian Adams presents a speech to the fine Midwestern folk of Emporia on the impossibility of women's undergarments. In 1917 this is indeed an "unmentionable" topic and yet as Marian speaks, it makes perfect sense--women are literally being dragged down to the ground by the clothing society requires them to wear. How can they ever succeed? How they can achieve anything when it takes so much simply to move around?
Marian's comments are received differently by those in attendance, although as part of the weeklong traveling Chatautauqua assembly, they are accustomed to being challenged now and again by a few outrageous (to them) ideas. The idea is that someone like Marian will drop into their lives, share her opinions and then move on to the next town. Marian stumbles while climbing off the stage however and severely sprains her ankle. She ends up spending several days in Emporia and lives, including her own, are upended by this intrusion.
In many ways, Unmentionables is a standard smalltown drama. There is the newspaper editor, a widower, and his difficult relationship with his wealthy father-in-law. His grown stepdaughter is desperate to break out on her own but her grandfather insists on keeping her under his thumb. The next door neighbors (brother and sister) are tangled up in their issues; she has an unrequited love for the newspaperman and he is a rather fickle businessman who owes a debt that he does a poor job of paying attention to.
The rest of the town is filled with people good and bad, there is generosity and pettiness and, in this time of war, some startling cruelty. Page by page, Loewenstein tosses out much of the difficult times, truly immersing her readers in the cares of 1917. She also shows deep affection for her characters, especially Marian, "Deuce" and Helen, who dreams of joining the suffragist cause.
This is a period that begs for great sweeping novels and I was especially happy to lose myself in the lives of these interesting people. The whole notion of Chautauqua and the "adult improvement" period appeals to me (traveling speakers under huge tents!). There were so many ideas, good and bad, swirling about the world in that time, questions that had to be considered and great strides about to be taken. Just think of the layers of clothing women wore in 1917 and then how much of that changed by 1927. The world was spinning so fast in the teens - women about to vote!!! Yet Lowenstein brings it all down to a level that makes the issues sharply personal. And then Marian goes to France to make her mark and that is some daring stuff as well.
(I especially liked that she carried Emporia with her even to France and the letters exchanged between the two places are a lovely touch.)
I found a certain amount of "earthiness" to this novel--a perspective on life that reads very much about people most readers know and will recognize. There are heroes and villains (plus a dog that dies to prove just how dastardly one villain truly is which, as you know, I hate to find any novel), and some hard won victories. I think I especially liked the history here though, how Lowenstein so effectively weaves bits about milk inspection and disease and racism and education into the overall story. This is how we live, after all, with so much big and small going on around us.
[Post pic of Chautauqua Assembly in Clarinda, Indiana circa 1908. Courtesy Library of Congress.]
I was tagged a couple of times for this tour and had to turn down the invites, but my pal Sarah Stevenson emailed me recently & the timing was perfect. Here is Sarah's post all about her young adult writing which I highly recommend. She also helps me wrangle the crew at Guys Lit Wire, keeps this site in ship-shape condition and basically is a truly lovely person & good friend. Now onto the questions!
1. WHAT AM I WORKING ON?
I've been struggling for a bit on my next big creative project. I write a lot for my day job, all of it on Alaskan aviation topics. I have been concerned both about writing on this too much for another book and not leaving the topic as it is what I know so well. In some ways, I've been stuck. (Not blocked.) To break out of this, I'm working on essay length pieces, all of them circling around the topic of the Alaska bush pilot myth. I hope when I am done that they will fit together well, but I've decided not to worry about the whole so much anymore and focus on the parts. This has freed me up quite a bit.
2. HOW DOES MY WORK DIFFER FROM OTHERS OF ITS GENRE?
As I"m a nonfiction writer mostly, I don't really fit into the "genre" issue as such. Comparing my work to other aviation writers, I think that I'm more personal--I can't help but make aviation a personal subject. I am also less interested in what happened (although I think that's important) than in why. I am endlessly intrigued by why people make the choices they do, whether they live in the present or are part of history. I hope by unpacking the bush pilot myth I can separate myself even more from other aviation writers by looking at the darker side of a long held aviation (and adventure) myth.
3. WHY DO I WRITE WHAT I DO?
It's what I know.
I am pretty much only happy when, to some degree or another, I am writing about what I know or what personally matters to me. This is not only Alaska aviation, nor do I want it to be only Alaska aviation. I am also deeply interested in my family history and slowly moving forward on some projects in that area as well. Again though, it is what I know.
4. HOW DOES MY WRITING PROCESS WORK?
Process is a big problem for me. My husband and I have our own business (aircraft leasing) and we work from home. We are always around each other, always working on many different things. Then I have my freelance journalism job for Alaska Dispatch and I'm always working on a couple of things for that, either by writing or interviewing or researching. My creative work gets bounced aside ALL THE DAMN TIME.
I hate that.
One of the biggest struggles I have is to make creative work a priority. When it happens, it happens at night (I've always been a night person) and with familiar television in the background (all seasons of Gilmore Girls currently). I have a notebook (Field Notes) with me for notes all the time and I believe strongly in taking notes. I have a composition notebook where I keep bigger research notes and images that strike a chord. All of this, in bits and pieces that make little sense to others, is part of my process. Mostly, I just keep trying to move forward.
5. AND THE OTHER PART OF THIS QUESTION, HOW DOES MY WRITING PROCESS NOT WORK?
I don't get enough done. I get scared. I get tired. I give up too easily. All the things that writers say about not getting the job done, are true for me. I believe very strongly that writing is not hard work; I come from people who knew hard work their whole lives. I've loaded airplanes at 20 below zero and I know that is hard work. But writing is very frustrating work and I let it frustrate me far too often.
PASSING THE TORCH, OR WHO'S NEXT:
I completely forgot about this bit. Partly inspired by Kelly Fineman's downsizing posts, I have been on a tear recently going through the house for a massive neighborhood garage sale. We are having it tomorrow and this week in particular has been about scouring closets, pouring over bookshelves and pricing like a madwoman. I put this post together but completely forgot the asking others to participate bit. I point you to Sarah's recent post again and also, delightfully, to Kelly's many writing posts. My friend Gwenda Bond has also done the Writing Process Post thing and it is good reading.They will inspire you I'm sure.
By: Colleen Mondor,
Blog: Chasing Ray
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I have seen this movie roughly a zillion times (I think it was the only thing on HBO for years). It never gets old and yes, I still know all the words.
From a conversation posted yesterday at Tinhouse between authors Lidia Yuknavitch and Kate Zambreno:
LY: Can contemporary women writers achieve literary or artistic legitimacy? On whose terms? Toward what end? This is a question that troubles me, or a question I think should be endlessly troubled...
KZ: It troubles me too. Although I can't speak for all contemporary women writers, just myself. This new idée fixe of mine--to be taken seriously as a writer--also, to someday write a truly great work, and then I will be taken seriously. But--I don't know if I will know if a work is great, perhaps that's not something I can decide or know as the writer, and perhaps these ideas of greatness or genius are oppressive terms anyway, about approaching perfection or success, when I've always been more interested in failure.
And what does that even mean--a serious work? Sometimes I feel exquisitely that if I never wrote about femininity or feminism, about emotions, especially depression and anger, never wrote from the first-person, I would be taken seriously as a literary writer, but I keep on returning to these themes in the work. I mean, there are certainly some contemporary women writers that achieve a great deal of literary legitimacy and recognition, and occasionally in the mainstream, and I think many are incredibly deserving. But I have absolutely no misconceptions that American trade publishing is a meritocracy, and in my opinion most of the important work being written in the United States today is happening in the small press, sometimes at a very micro level, and this is because the demands of the market, especially for the massive audience of women readers, are not the best recipe for prickly and urgent literature.
The question of "what is serious work" is what really captured my attention in this exchange as it is something that I think about quite frequently with my own work. In writing about aviation I am generally always serious--it's a serious topic--and yet I do not think as a literary writer of aviation I am taken very seriously. I don't mean that people dismiss my research on this subject but rather that when writing about something perceived as technical, it is easy to dismiss an author as other than literary.
Basically, writing about aviation is considered by some as more the nuts and bolts of writing and not the MFA-type of indepth analysis that literary writers appreciate. (And I won't even get into the issue of being a woman who writes about a male-dominated field.)
As a reviewer, I am granted far more respect as serious when reviewing nonfiction for adults then writing anything about YAs or children. This does not surprise me, although I wish it did.
I have felt in the past few months, that aspects of my writing (as a reviewer) have been deemed worthy of easy dismissal by others. This has left me disappointed in those who passed such casual judgements. I do not agree with their definitions of "serious" or how one must write to be deemed worthy of the title "serious writer".
It's a term that is best expressed in the eye of the beholder, I think. Just as so many other subjective terms are.
(And for the record, how anyone could deem Zambreno or Yuknavitch as anything less than serious is impossible for me to believe.)
A pretty amazing ruling from the Canadian Supreme Court yesterday concerning Aboriginal territory in British Columbia that you might have missed. I found this whole article explaining it to be fascinating but in particular it was the history (150 years worth) that really caught my attention.
In 1864 a toll road for wagons was planned through Tsilhqot'in territory in BC to better facilitate the movement of goods to the gold fields. Many of the Tsilhqot'in protested the roadway, especially as they had an uneasy relationship with the Europeans due to the spread of smallpox from blankets. (Really.) Here's a bit on it from the article I read at Aboriginal People's Television Network:
Then, in the spring of 1864, four bags of flour were stolen from a road crew's base camp. The crew's foreman threatened the Tsilhqot'in with smallpox for stealing.
Journalist Melvin Rothenburger, who wrote a book called the The Chilcotin War, believes this threat may have helped spark the war.
"That could have been an important factor because of the fear of smallpox and it had been rampant," said Rothenburger, whose great-great grandfather Donald McLean was killed in the ensuing battles with the Tsilhqot'in.
News of the smallpox threat and rapes stirred a group of Tsilhqot'in to launch what turned into a guerilla war against the settlers. Of this group, a war chief known as Klatsassin or Lhatasassine, meaning "We do not know his name," came to embody the Chilcotin War.
They fired their first shot on the morning of April 28, 1864. It killed a ferryman who refused Klatsassin and his party passage.
After several deaths and fighting on both sides, Katassin and three other chiefs went to a proposed meeting with the BC governor. While asleep they were shackled, then summarily tried and hung on Oct. 26, 1864.
Before he died Klatsassin famously said, "We meant war, not murder."
There is much talk in Canadian media about the long fight for Aboriginal rights in BC (this latest court battle started in the early 1980s concerning timber sales on Aboriginal land). I am struck though by how the fight simmered in so many different ways and the powerful reach of history. It never fades away, no matter how long you ignore it.
History always insists on being heard.
Last weekend I attended the Chuckanut Writers Conference in Bellingham, WA. I went into this with absolutely no expectations--no search for connections, no networking, no intention to attend a pitch session with a publisher or agent. All I wanted to was to listen to the faculty (all of whom sounded interesting) and maybe through the sessions and presentations find my way around some issues with my current projects.
Here's the thing--I have not been writing like I should. It's very hard to juggle creative writing and job-writing. I have spent a lot of time reviewing and working as a journalist over the past few years since The Map of My Dead Pilots went through its final edits & was published. I wrote a lot of short things since then, some essays and a short story, but the next book has been a problem. I've been floundering for no good reason, so I decided to attend Chuckanut and see if I could gain some much needed perspective (and possibly direction).
In addition to attending all the presentations, which were alternately funny, thoughtful and endearing, I also attended sessions at each appointed time. I attended novelist (and magazine editor) Brian Doyle's session on finding ideas even though I already know what I want to write about. I attended memoirist Claire Dederer's session on language in memoir even though I have already written a memoir. I attended a panel discussion with novelist Jim Lynch, nonfiction writer Bruce Barcott, historian David Laskin and science writer Thor Hanson about research even though I have spent years in archives and libraries. I attended Laskin's session on writing personal narratives on family history even though I was not certain this was something I wanted to write and, finally, I attended Barcott's session on writing Op-eds even though I had never thought about writing one.
And here's the thing--I got a lot out of this conference. I got some very useful tips, some points to ponder, some ideas to follow-up on. I spent some serious time thinking about what was said around me, chatted with some interesting people and came to grips with all the questions that have been mucking up my work.
I got myself centered if that makes any sense. I figured out what I am supposed to be doing and, just as important, what I am supposed to be writing.
My only complaint about the conference is a common one for such events--some of the faculty was less available than others. It was clear to me early on that if I wanted to speak to any of them, even just to extend a compliment, I was going to have to approach them whenever I saw them and not wait around as they could be gone. So I did just that and ended up having some great conversations and, very surprisingly, getting an amazing offer of assistance on a short project (I asked for advice, I got a lot more). Everyone was nice, it's just that some of them weren't there too much. Keep than in mind when you attend a conference.
I'm going to write a bit more specifically about some of these writers and their work in the coming weeks because I want to recommend their books and articles and share some notes I took. Bottom line though, this was sort of life-changing for me and one of the more valuable experiences of my writing career.
When I attended Claire Dederer's session on language and memoir at the Chuckanut Writer's Conference, I greatly enjoyed the many ways in which she used basic words to show us how we could create beautiful sentences. It was a very funny and thoughtful session, with lots of audience participation which was great. I'm sure she is an excellent teacher as she taught us quite a bit in a very short period.
From my notes I have the importance of "story, scene, honesty and language". We were urged never to use general past tense "we used to" or "we would" and to take the general and make it specific. (Don't write that "we would go to the park" but rather, "I got on my bike on long sunny days and rode on cracked sidewalks everyday that summer with my best friend Susie to the park....")
See the difference?
I thought about language as Claire talked and also about honesty in writing (the importance of emotional honesty was a big topic of discussion). Lots of folks asked questions and batted around ideas, feeding off of each others answers. It was all quite unexpectedly exhilarating and I walked out the door and promptly placed myself at the nearby bookstore table and bought a copy of her book Poser: My Life in Twenty-Three Yoga Poses.
I do not practice yoga. I am impressed by folks who can do it well but I've always been more partial to other forms of exercise. So I wouldn't normally want to read a book that is framed around yoga. But Claire was interesting and that made me want to read the language she chose for her book. I flew through it and now have a much better understanding of what yoga requires. More importantly, I have a grasp on the power of personal stories.
One of the things we talked about in the session was the power of an ordinary life and Poser, like many memoirs, is about just that. In the book, Claire writes of how she and her husband are freelance writers in Seattle and both have roots in western Washington. They had a daughter and Claire dove headfirst into West Seattle's idea of what the good mother must do. (It's all very organic.) There were financial pressures which drove her husband into depression, the trauma of their daughter's difficult birth, friends and family who dropped in and out and the endless confusion over her parent's who had been separate for more than 20 years but resisted divorce. It's all very ordinary and yet wildly compelling.
The yoga framework carries readers along in an orderly manner as Claire reaches back to her confused and sometimes frustrating childhood and then steps into the present and the ever-growing chaos there. Slowly she works through many questions about her life and as I read the book I realized how common her experience truly was, even with a decidedly non-yoga practicing reader. I did not share her path in mothering, nor was I a freelance writer but still....I got this book in a big way. There's one line of many that caught me as she pondered how much of her time was going into her infant daughter's care. She writes:
"But I could feel my worth as a worker slipping away, month by month and year by year."
It's okay to feel that way; I have certainly felt that way and it is a bit of the essence of the book. It's about women and family and being a child of a loving but broken home (which is broken even when both parents remain 100% in your life) and about figuring out what kind of parent is the kind of parent you want to be and what kind of spouse and what kind of worker and what kind of creative and even what kind of yoga practitioner.
It's coming-of-age for grown-ups which I think, more and more, is a large bit of what most memoirs really are.
Poser is written with lovely language and it made me think. I still have no interest in attending a yoga class but I got something out of these words that is staying with me. It's the emotional honesty I think--when it's present in a text you don't forget it.
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One of the foundational stories in my mother's family is that of my great grandmother Julia's immigration from eastern Europe. Growing up, I was told many many times of the miracle of her survival as a small baby while traveling from Hungary (or Austria or the Hungarian Empire--we were a little fuzzy on that), to New York City. Her mother Maria Falk was a teenager, her father was unknown and Julia was only a few months old. They arrived in either late 1890 or early 1891.
There were many things about this story that I found fascinating, from how Maria paid for their passage to the identity of the man who got her pregnant and abandoned her. (My mother and I wistfully decided she must have been taken advantage of by royalty of some kind.) Julia never expanded much on the story; if she knew anything else it was not revealed to my grandmother or her siblings. Everyone knew she was illegitimate and an immigrant and that was the end of that. I honestly never expected to learn anymore about the start of Julia's life and haven't spent much time looking.
After Maria and Julia arrived there was a gap of 5 years before we know anything concrete. In 1895 Maria married* Rudolph Pressl, a naturalized American citizen who emigrated as a child with his family from Vienna. Later that year the first of their 3 daughters was born. Rudolph died sometime between the 1900 and 1910 censuses. I have many pictures of Julia and her sisters, Ernestine, Marie & Carol who worked in the garment industry before they were married.
Although I have researched my family tree quite a bit over the years, most of my focus has been on Julia's husband Tom, my great grandfather, and his family. I do have a copy of Maria & Rudolph's marriage certificate from NYC however and a little while ago I came across it and noticed that Maria had signed the back and her maiden name was not Falk as we thought. She signed the form Maria Filak. This was different from the maiden name listed for her mother on Julia's marriage certificate in 1910. (My grandmother repeated the error when providing info for Julia's death certificate in 1972.) Looking at Maria's signature, I wondered if a clerk's error on Julia's marriage certificate had given us bad information for all these years and we just never paid attention to it. I decided to look a bit for Maria Filak.
I went to the immigration records on ancestry.com. (I sound like a commercial for the site, but it's true.) There was only one Maria Filak listed on a ship's manifest but she didn't fit what I knew of the family history so I didn't get too excited. I went back and searched every census record (federal and state) for Maria Pressl from her 1895 marriage to Rudolph until her death in 1934. (Maria does not appear in a census prior to that under Filak or Falk.) In every one I noted her age at the time and saw that she shifted her year of arrival in the US on every form from 1890 to 1893 to 1894. Her birth was consistently in October 1872 however. (This also matches the age on her marriage certificate to Rudolph.) Then I went back to the immigration records with this date and there was no longer any denying what I found there.
Maria Filak, age 15, arrived in NYC on the SS Eider from Bremen, Germany via Southhampton, England on April 24, 1886. Her country of origin was Hungary. She was 15 years old and alone. My great great grandmother was in America 4 years before we thought and more importantly, 4 years before my great grandmother was born.
Julia, apparently, was born in New York City.
I don't know why Maria told the family the story she did. I don't know why it was so important that Julia be presented as an immigrant baby. Maria never hid the fact that she was an unwed mother--she lists herself as "single" on her marriage certificate to Rudolph--but apparently there was something to the immigration story that needed to be altered to fit her life. Now I have Maria here four years earlier than we knew, Julia born in the city and the wedding still 5 years later. How Maria survived all those extra years and how Julia came to be born is a total mystery. I don't know if I will find out more about those years or ever get the name of my great great grandfather, but this is still something.
Julia Filak Pressl was American-born, which plants our feet even deeper in the American story. That alone, is really pretty damn cool.
*Maria & Rudolph were married in January; their first daughter Ernestine was born in June.
[Post pics: Maria & Rudolph Pressl with daughter Julia (standing) and new baby Ernestine, taken late summer/fall 1895. Julia was almost or just turned 5-her birthday was September 14. I think this is the baby's baptismal photo. The ship is the SS Eider, which brought my great great grandmother to America. More info on it here.]