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Negroland: a memoir by Margo Jefferson 2015
Pantheon/Knopf Doubleday

IQ "Average American women were killed like this [by men in crimes of passion] every day. But we weren't raised to be average women; we were raised to be better than most women of either race. White women, our mothers reminded us pointedly, could afford more of these casualties. There were more of them, weren't there? There were always more white people. There were so few of us, and it had cost so much to construct us. Why were we dying?" 168

There is so much to unpack here, so many quotes I want to discuss, which I will do later on in the review but if you only want to read one paragraph I'll try to make this one tidy.

One sentence review: There is something new to focus on with every reading and like all great works of literature there is something for everyone, the writing is flowery but I mean that in the best way possible.

I fell in love with the life of Margo Jefferson and the history of the Black American elite (think Our Kind of People). I would say I'm on the periphery of the Negroland world so much of what Jefferson describes is vaguely familiar to me but obviously I am not a product of the '50s and '60s so that was all new to me. I appreciated Jefferson's honesty that she finds it difficult to be 100% vulnerable, I imagine that is part of why she chooses to focus so much on the historical. But at least she doesn't pretend that she will bare her soul, but she still manages to go pretty damn far for someone who believes it is easier to write about the sad/racist things. Jefferson eloquently explores the black body, class, Chicago, gender, mental illness and race from when she was a child into adulthood with a touch of dry humor here and there. Jefferson is the epitome of the cool aunt and I want to just sit at her feet everyday and learn (I was fortunate to hear her speak at U of C and it was magical, her voice is heavenly and she's FUNNY).

I understand complaints that the narrative is disjointed but Jefferson always manages to bring her tangents back to the main point. It is not simply random ramblings the author indulges in, each seemingly random thought serves a purpose that connects to the central theme of the chapter/passage. Jefferson does not owe us anything, yes she chose to write a memoir but she also chose to write a social history. She explores some of her flaws and manages to avoid what she so feared;  "I think it's too easy to recount unhappy memories when you write about yourself. You bask in your own innocence. You revere your grief. You arrange your angers at their most becoming angles. I don't want this kind of indulgence to dominate my memories" (6). For someone raised to be twice as good and only show off to the benefit of the Black race, Jefferson thankfully manages to let us in on far more than I expected when it comes to the Black elite.

Jefferson comes at my life when she says, "At times I'm impatient with younger blacks who insist they were or would have been better off in black schools, at least from pre-K through middle school. They had, or would have had, a stronger racial and social identity, an identity cleansed of suspicion, subterfuge, confusion, euphemism, presumption, patronization, and disdain. I have no grounds for comparison. The only schools I ever went to were white schools with small numbers of Negroes" (119). I too attended majority white schools and have often wondered if I would have had an easier time identifying with other Black students in college (and even high school) if I had gone to majority Black schools instead of remaining on the periphery. She goes on to explain her impatience because she felt that for the first few years of school she was able to live her life unaware of race and I would agree, there were only a few incidents but mostly I felt free. So she's right, it's a trade off and ultimately we all end up in the same white world. I still think I should have gone to an HBCU just to see what it's like, to force myself to confront my own privilege but I managed to do that at my PWI and there's no point in worrying about it anymore. It's this matter-of-fact tone Jefferson uses throughout the book that I adored, she largely avoids sentimentality. Although she somehow manages to fondly look back at Jack & Jill which makes me sad that I don't share the same happy memories of the group and based on conversations with a few others on Twitter I am not alone in that (someone should research the history of Jack & Jill and explain why it has become so awful although I have my own theory).

Much has already been said about how candidly Jefferson discusses depression, an aspect of mental health that was not discussed in the Black community. Thus I do not wish to dwell on the topic since writers far more articulate than I have mentioned it in their reviews, but I appreciate her talking about it and I know what she means. Slowly but surely the 'strong Black woman' facade is being allowed to crack and we are all the better for it. I wish she had delved a bit into Black women and eating disorders because she mentions how much she loved Ballet and the ideal beauty standards of the Black elite (no big butts or noses for example) but maybe this is not something she witnesses personally. Jefferson mentions that when Thurgood Marshall and Audrey Hepburn died around the same time, she and her friend felt guilty for caring more about Hepburn's death because of all she symbolized for them. At first I raised my eyebrows at this sign of racial disloyalty but she notes what Hepburn meant to her; "And the longing to suffer nothing at all, to be rewarded, decorated, festooned for one's charms and looks, one's piquant daring, one's winning idiosyncrasies: Audrey Hepburn in Funny Face and Breakfast at Tiffany's. Equality in America for a bourgeois black girl meant equal opportunity to be playful and winsome. Indulged" (200). And I understood exactly what she meant. It's why I cling to Beyonce, Carmen Jones (and Dorothy Dandridge by extension), Janelle Monae etc etc. I can't think of a Black manic pixie dream girl but I'd love to have a Black girl play one, to be able to complain about a character we have long been denied.

On Black men & women; "But the boys ruled. We were just aspiring adornments, and how could it be otherwise? The Negro man was at the center of the culture's race obsessions. The Negro woman was on the shabby fringes. She had moments if she was in show business, of course; we craved the erotic command of Tina Turner, the arch insolence of Diana Ross, the melismatic authenticity of Aretha. But in life, when a Good Negro Girl attached herself to a ghetto boy hoping to go street and compensate for her bourgeois privilege, if she didn't get killed with or by him, she usually lived to become a socially disdained, financially disabled black woman destined to produce at least one baby she would have to care for alone. What was the matter with us? Were we plagued by some monstrous need, some vestigial longing to plunge back into the abyss Negros had been consigned to for centuries? Was this some variant of survivor guilt? No, that phrase is too generic. I'd call it the guilty confusion of those who were raised to defiantly accept their entitlement. To be more than survivors, to be victors who knew that victory was as much a threat as failure, and could be turned against them at any moment" (169). Jefferson embraces feminism and pushes back on the constraints of Black womanhood.

I've already picked this book up and re-read random passages which is rare for me so soon after finishing it the first time (this is what happens when you have a towering TBR pile). I took an African American Autobiography class in college and I really hope this book gets added to the syllabus. It combines so many topics of interest to me, acknowledges so many greats in Black history, exposes some secrets of the Black upper class (passing, brown paper bag test) while combining history and memoir, absolutely captivating. I instinctively knew I would need to buy this book (ended up getting it autographed) and I am so glad I did. The cover is phenomenal.

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So, I was talking about how long these books can take, right? Of course, then, this past Thursday’s edition of PW Children’s Bookshelf contained this announcement:

The way that 88 Instruments has come together is far different from how my John Roy Lynch or Nutcracker books developed.

In March of last year, editor Julia Maguire let it be known that she’d be interested in a picture book about a child picking which instrument to learn. I had not yet written any such picture book, and it wasn’t until late May that I started coming up with an idea for how to tell that story.

For the next month or so I jotted down notes (no musical pun intended, but if you saw one anyway, I’ll gladly take credit) by longhand. In early July, I had a first draft. In mid-August, I swapped a revised draft with a critique partner and got some helpful feedback. A couple of weeks after that, I did a revision at my agent’s request. Three or four weeks later — late September — I did another revision, this one based on notes I got from Julia herself.

(Notice how I’m using words such as “month” and “weeks” and not “years,” “decade,” “lifetime.” Anyway…)

Julia liked that revision, Alfred A. Knopf Books for Young Readers offered to buy the book, I revised some more, and by early November the text was done. (Yes, my fellow picture book authors, I know. Famous last words.)

The holidays came and went. Nothing ever happens in publishing during the holidays — except in this case, I guess, because early January brought the news that Louis Thomas would be illustrating.

Not only that, but Louis Thomas would be illustrating very soon, with publication expected in summer 2016, roughly two years after my first draft.

Now, whether the development of this book has been speedy depends on your perspective. At a school visit this past Friday, a second-grader asked me how many books I can write in a day, so I suspect that she wouldn’t be impressed.

But at least now, when kids ask me how long it takes to create a book, I can provide an updated answer: from as many as twelve and a half years (and counting!) to as few as two (fingers crossed!!!).

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#1 New York Times bestselling author Carl Hiaasen talked recently to Newsday about bringing Skink — the beloved vigilante ex-gov of Florida whose unique brand of swamp-justice has made him a star of six Hiaasen adult novels — to YA readers “before he got too old and cranky.”

Long listed for the 2014 National Book Award, Hiaasen’s first book for teens, Skink No Surrender, features the ragged, one-eyed renegade helping 14-year-old Richard rescue his teenage cousin Malley, who has run off into trouble with an older guy she met on the Internet.

Why Skink for kids? Hiaasen told Newsday:

“Skink knows his way around the wilderness. That’s the kind of person you want with you if you’re trying to do a rescue. He’s his own scruffy version of SEAL Team Six. Kids like characters who can sometimes defy authority if it’s for a good cause. Skink is not a model citizen. But he does have character traits. He does have honor. He does have a strong moral compass. These are all good things for kids to find in a character. I’ve had people show up at book signings dressed as him. They’ll have a shower cap and an eye patch.”

When asked how he managed to capture and maintain the voice of a 14 year old writing in first person as Richard, Hiaasen answers, “I’m lucky because I’ve got a built-in test market in the family. One of the things that you learn as a reporter, or you better learn, is you learn to listen. Driving kids around in a car, you listen to how kids talk, the cadence, what they’re talking about.”

In Skink No Surrender, Newsday’s Beth Whitehouse notes, Hiaasen emphasizes the importance of the environment and protecting species. Skink hands Richard a copy of Rachel Carson’s Silent Spring.

“Silent Spring is an important book. It’s as important a book now as it was in the ’60s. I’m not proselytizing about it. If five kids go read that book, those five kids are going to be changed by it. But I don’t do it in a preachy way. I do it in a casual way.”

Carl Hiaasen has read his audience right. Skink No Surrender is set to debut on the New York Times bestseller list this weekend.

New Career Opportunities Daily: The best jobs in media.

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Title: The Colors and Sounds of Kandinsky’s Abstract Art -The Noisy Paint Box Written by Barb Rosenstock Illustrated by Mary Grandpré  Published by Alfred A. Knopf, 2014 Ages: 5-11 Themes: abstract art, sounds, Kandinsky, historical fiction First lines: Vasya Kandinsky spent his days learning to … Continue reading →

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CATugeau Agency is so proud to announce the launch today of I Pledge Allegiance written by Pat Mora and Libby Martinez and illustrated by our own PATRICE BARTON for Random House Children’s Books (Knopf).  Seems a wonderful time to remind ourselves how lucky we are who can make that pledge…and share it with our children. ENJOY!

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Category: Children's Non-Fiction Picture Book
Keywords: Children's, picture book, non-fiction, art, biography
Format: Hardcover; ebook
Source: Library


Synopsis:

As a child in the late 1800s, Horace Pippin loved to draw: He loved the feel of the charcoal as it slid across the floor. He loved looking at something in the room and making it come alive again in front of him.He drew pictures for his sisters, his classmates, his co-workers. Even during W.W.I, Horace filled his notebooks with drawings from the trenches . . . until he was shot. Upon his return home, Horace couldn't lift his right arm, and couldn't make any art. Slowly, with lots of practice, he regained use of his arm, until once again, he was able to paint--and paint, and paint! Soon, people—including the famous painter N. C. Wyeth—started noticing Horace's art, and before long, his paintings were displayed in galleries and museums across the country.

Jen Bryant and Melissa Sweet team up once again to share this inspiring story of a self-taught painter from humble beginnings who despite many obstacles, was ultimately able to do what he loved, and be recognized for who he was: an artist.

Thuy's Review:

A really wonderful and beautifully written picture book about the life of American artist Horace pippin. I had I idea the story was based on a real person when I started reading it and found myself totally engrossed by the story of Pippin's life. I was completely charmed by the story and finding out that it's about a real person just gives it more resonance.

The artwork is fantastic and is a mix of painting, drawing and collage. I especially loved the early drawings by Horace. The art also includes quotes by Pippin, which he used in his artwork. The words are simple but strong and bring another facet of Pippin to life.

I was unfamiliar with Pippin's work before and A Splash or Red presented his story in a really accessible way. I think both children and adults will be able to enjoy this book and I definitely think it will inspire interest in Pippin's work. I also liked that there was an index in the back with places where one could go see Pippin's work along with sources for more information on Pippin. I am not usually a big fan of non-fiction picture books but A Splash of Red was a delight to read and one that I highly recommend.

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Imagine being named Rump.  Imagine it.  Imagine what other kids could do with your name.  Especially when you live in a place that believes that your name is the key to your destiny.

Rump lives on the Mountain with his Gran.  His mother died when he was born, and Rump just knows there is more to his name, but his Gran does not know what it is.  Life in the Mountain is rather bleak.  The residents almost all work in the mines looking for the ever elusive gold to trade in to the miller for food.  One day Rump notices an old spinning wheel in with the firewood.  He asks his Gran about it and it turns out this was his mother's spinning wheel.  Even though it is beaten up, Rump polishes it up, thrilled to have something that belonged to her.

On rations day, Rump and his friend Red are on their way home when they see Kessler the peddler.  Aside from the regular wares, Kessler also deals in magic.  Against Red's advice, Rump trades some grain for a bit of magic.  The trick does go a bit wrong, and Red states that there are consequences for *all* magic, no matter how small, but Rump finds himself hungry for more.

Soon enough Rump discovers why the gold loving pixies of the kingdom have always favored him.  He finds he is able to spin hay into fine gold thread.  He promises himself he will only spin enough to get more food for him and Gran, but promises to oneself often go unfulfilled.  Before Rump knows it, he is bargaining away his own magic for a fraction of what it's worth.

This new twist on the Rumplestiltskin story will have readers looking at Rump with fresh eyes.  This magical world with its gold hungry pixies, message delivering gnomes, magic hoarding trolls, magical aunties and fierce best-friends pretty much begs for a film treatment.  There are pearls of wisdom dropped throughout the text, and readers will likely have many moments of taking pause to ponder over some of the ideas.  Happily, I read on twitter that there will be more titles coming from Shurtliff - one featuring Jack and another featuring Red.  I for one can't wait!

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Nancy Siscoe is a senior executive editor with Knopf Books for Young Readers, an imprint of Random House. She publishes everything from picture books to young adult fiction--and she described what sounded like a dream publishing experience for writers.

Nancy also talked about her middle grade and YA titles, making everyone in the room yearn to be on her exclusive and wonderful list.

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Yesterday I wrote a "review" of R.J. Palacio's Wonder wherein I was trying to work out what I was thinking on the fly, on the screen, sorting out my thoughts in public. even as I was committing the post to go public I was still left with the feeling that I hadn't really scratched the surface. I've been trying to stay as close to gut-level in my reactions while at the same time shortening my

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by R.J. Palacio Knopf 2012  Can a boy with a deformed face find friends, happiness, success, and acceptance when he first goes to middle school? Only in a middle grade novel.  I'm going to lean a little heavy on this book, despite the fact that I found the writing and narrative structure compelling and well crafted. Bear with me, I'm thinking aloud. There are buses and billboards and junk

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The Brevard County Public Library said it viewed the erotic trilogy as pornographic and not suitable for public circulation.

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I am so absolutely thrilled that BOY + BOT releases today because I’ve been waiting for it for a long, long time.

It’s the debut picture book by my good friend, Ame Dyckman—and get this—it’s illustrated by the hugely talented Dan Yaccarino! I mean, this has got to be the best picture book EVER with an author-illustrator team just as lovable as Boy and Bot themselves.

And for this very special day, I’ve got prizes to give away! One AFFIRMATIVELY AWESOME prize pack including BOY + BOT, stickers, bookmarks, and an *exclusive* BOT keychain clip made by author-zoologist-educator-sculptor Jess Keating!

So let’s get on with the fun!

TL: So, Ame, you and I have been friends for a few years now, after meeting at NJ-SCBWI first page sessions. (I knew I had to get to know you, with your spiky pink hair and Lego bracelet.) Is that how you began your kidlit career, attending SCBWI events?

AD: *laughing* Was my hair pink back then? I don’t remember my hair color at the time (it’s blue, now), but I remember thinking, “Wow! This Tara person is funny and nice and she really knows her kidlit! I like her!” BAM! Friends!

And yes, attending SCBWI events–YAY, NJ SCBWI!–started everything for me! When I first joined, I knew I wanted to write picture books, but I didn’t know how. My first manuscripts were REALLY bad, but nobody made fun of me. Everybody was helpful. (YOU taught me how to page a PB, remember? I still have your diagram!) I went to as many events as I could—First Page Sessions, Mentoring Workshops, Networking Dinners, Annual Conferences, etc. I learned tons—still do!—and met lots of amazing industry professionals and made lots of wonderful friends. At the 2009 NJ SCBWI Annual Conference, I pitched BOY + BOT to Super Agent Scott Treimel, and he said, “I love it! Let’s work together!”

TL: I distinctly remember the 2009 conference and a certain editor making goo-goo eyes at you during lunch…but he had read your manuscript and was bonkers over BOY + BOT. I thought to myself, GO AME! You could feel the buzz about that manuscript at the event. You were in deep conversation with several agents.

So we want to know—how did this beep-worthy book idea come about?

AD: The short answer: I love robots! (I used to doodle robots instead of doing my math homework. Even in college!) The long answer: I love robots and unusual friendship stories and mirror stories always make me laugh, so I hoped mine would make other people laugh, too.

TL: So BOY + BOT is your debut and it has something like 347 starred industry reviews! Are you thrilled or what?

AD: I’m SO happy, and really grateful for all the reviewer love. Here’s hoping the little Boys (and Girls!) and Bots that Dan and I made the book for love it, too!

TL: We’re chatting on the eve of your book’s release. Will you be able to sleep tonight? It’s a little like Christmas Eve, isn’t it?

AD: It feels like Christmas Eve and Birthday Eve and Leaving-for-Disney-World-Tomorrow Eve all smooshed together! I was up until 3:45 this morning because I was so excited already! (But, I think I’d better try to

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ROSIE SPROUT’S TIME TO SHINE  ….story by Allison Wortche and pictures by Patrice Barton ( a CAT ARTIST!)  Published by Knopf

Rosie isn’t the ‘best at everything’ like Violet, but wants to be!  where does that lead her with a class project?!   Does she find a way to shine?   endearing and fun….

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by Hannah ShawKnopf 2010You expect me to believe that if a kid found a live rodent in his snack food that he'd befriend it until his mother told him to get rid of it? Seriously?Sometimes I think I take picture books a little too seriously, a little too literally. Sometimes I forget that I have put on my picture book kid hat, a hat that sometimes sits casually on my head at a goofy angle and

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...and the Cyborg Substitute...and the League of Librarianswritten and illustrated by Jarret J. KrosoczkaAlfred A. Knopf 2009There's evil afoot, and Lunch Lady is there with her trusty hair-netted sidekick Betty to thwart it. Whether its a league of librarians who plan to intercept all the new video game consoles coming in fresh off he boat, or the mild-mannered teacher who created a robot

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In an effort to make this blog more highbrow, I’m going to start posting some deeply insightful, richly nuanced interviews with VIPs in publishing. But I don’t really know any, so I’ll start with fetal-stage VIPs. I mean members of the Tenners, a group of authors who will make their publishing débuts in 2010. They’re going to be huge a year from now, HUGE I tell you!

First up: Author Josh Berk (The Dark Days of Hamburger Halpin, Knopf, Jan 2010). Have you ever met someone who seems like a brother from another mother? Josh fits that role; we have the same infantile sense of humor, the same taste in books, and are both gifted Scrabble players. Well, gifted in that we both apply our infantile sense of humor to building Scrabble words. I’ve never met Josh in person before, but through the magic of Facebook, online Scrabble, and LiveJournal, I feel like I’ve known him for years. But hey, enough about me, this is supposed to be an interview, right?

By way of introduction, I’ll start with his deal announcement from Publishers Marketplace:

26 November, 2007 - Young Adult Children's librarian Josh Berk's debut, set in coal mining Pennsylvania and narrated with sardonic humor by a boy who is overweight, deaf, and mute during his first year in mainstream high school, when he begrudgingly solves a murder and uncovers a secret truth about his family history, to Cecile Goyette at Knopf, for six figures, in a pre-empt, in a two-book deal, by Ted Malawer at Firebrand Literary.

Let’s review some key words: Cecile Goyette, Knopf, six figures, pre-empt, two-book deal, Ted Malawer, Firebrand Literary—any writer would be thrilled to have just one of these attached to his name, and Josh has a string of seven. It’s a good thing he’s impossible to hate. (And believe me, I tried, mostly because as a result of being bublished by Knopf his book will probably have deckled edges and I have serious deckle envy.)

Before we get to my deeply insightful, richly nuanced questions, let me steal repurpose some Josh-generated content from the Tenner’s site just to set the scene:

Five things about Josh:
1. I have a quiet day job (librarian) and a loud hobby (punk rock).
2. Both of my parents are also librarians.
3. I have two dogs with a total of three eyes.
4. I have a degree in political science yet pretty much hate politics.
5. My son has the ridiculously literary name of Elliot Emerson Berk.

And now, on to the questions.

Please tell us about finding your agent.
In May of 2006 I saw a little announcement in a local arts magazine that a literary agent would be speaking at a writer's group near to where I live (Eastern PA). Since graduating from library school and falling in love with YA lit the previous May, I had been working on a YA manuscript of my own. I was just about ready to begin figuring out how to send it out into the world so I thought I'd attend this meeting even though the idea of talking to an agent was terrifying to me.

The agent turned out to be Nadia Cornier of Firebrand Literary. She gave a great talk and I approached her afterward despite feeling nervous that she would brush me off. Surely she gets accosted by a hundred hacks a day with a "manuscript in a drawer at home," right? Well, that is probably true, but she was very nice to me and said that Firebrand had a young agent looking for new clients. I took down this young agent's e-mail address and felt very proud of myself for having the guts to talk to an agent (even though Nadia is totally not-scary, it was very very very stressful for me).

At this same meeting, I met Cyn Balog, a YA author who was one of Nadia's clients. Cyn was also incredibly nice to me. When she found out that I wrote YA, she gave me her e-mail address and offered to stay in touch. I could not believe my luck! Here was a real agented writer being so kind to me!

I sent my manuscript to the agent at Firebrand who read it, but "passed on the project" (in other words "no thank you"). I was a little upset, but thrilled because she said that I showed some talent and offered to read future works. I also stayed in touch with Cyn and sent her some of my writing. (If I was smart, I would have asked for Cyn's critque *before* sending it to an agent, but I was very new to everything at that point.) Cyn also said that I showed some talent and offered ways to improve. Basically, at that point, I would say that my writing was "over-written." I wrote a lot of fancy metaphors, deep inner monologues, and unnecessarily complicated plot devices. Cyn advised that I keep it a little simpler and add more action and less "brain dumping" (when the narrator just "talks" to the reader without anything happening). She reminded me of the old adage "show don't tell" and I took it to heart.

When did you start the book that would end up as The Dark Days of Hamburger Halpin?
I was thrilled that I had an agent offering to read my future works and beyond thrilled that someone like Cyn would take the time to help me improve. I took her advice seriously and around this time--the summer of 2006--started the manuscript that would become DARK DAYS. My wife was pregnant at the time so I felt motivation on top of inspiration!

It took me about a year to finish a draft of DARK DAYS that I felt good enough about to send back to that agent at Firebrand. When I did, I found that she no longer worked there. She no longer worked in publishing at all! (I tried not to take it personally.) I used Agentquery.com to find some other agents and started querying. I got some interest and also learned that there was another new agent at Firebrand. He turned out to be a perfect match for my sensibilities and skewed sense of humor. That was Ted Malawer. He read the manuscript and offered representation in June 2007. I happily accepted!

Ted worked with me over the next six months until he was confident enough in the manuscript to send it to editors. It grew and blossomed under his oversight into something far superior to the draft (I didn't know it was a draft at the time) that I sent him.

Tell us how your amazing deal happened.
Yes, I still can't believe that said string of words applies to me! Ted sent the manuscript around to editors at various publishing houses who he thought might be interested. I was amazed that there was quite a bit of interest. Several very impressive editors called me to talk about the manuscript. They were all interested! I was astounded!

Ted told me that when this happens, the manuscript goes to auction. Auctioneers make me laugh and I pictured Ted talking fast, wielding a gavel. (I have since learned that it doesn't actually go down that way - mostly phone calls and e-mails.) This was right before Thanksgiving. He told me just to relax and that the auction would happen after the holiday. And then he called me again and said Knopf made a pre-empt offer! There was some back and forth between Ted and their people and then Ted called me at work. He asked me if I was sitting down. I reminded him that I work at a library, and that he shouldn't say anything that would make me scream. He said "I can't promise that!" and told me the details of the deal. He advised that we take it and we did. On the way home from work I bought a huge bottle of champagne and had a very happy Thanksgiving!

You sold the book in November of 2007, your pub date is January 2010, can you tell us where in the process you are now?
After lots (and lots and lots) of revisions, the manuscript was approved by Knopf for publication just last month. It is currently with a copy-editor. It then comes back to me and my editor for final scrutiny and then goes into design. The process of layout and design will start then and before long it will resemble an actual book! My publication date is actually January 2010.

Can you share one piece of advice for writers?
FOUR PIECES OF ADVICE FOR THE PRICE OF ONE!
(1) Don't be afraid to talk to agents or editors or other authors! They are just people and (for the most part) aren't that scary. They want to find a book to buy/represent as much as you want to find someone to do that for you.

(2) Practice and patience! If someone told me back when I was writing that first novel, that it was just a "practice novel" and that it would never be published I would have probably given up. But I learned a lot on that first manuscript and it led the way to the next one, which led the way to publication! (With a lot more waiting along the way, so yes! More patience!)

(3) Take any writing gig you can get. I took lots of other small writing jobs while working on my novels. These were neither glamorous nor high-paying (local magazines, newspapers, etc.) but they were great practice. I learned how to tell a story, I learned how to work with editors, I learned how to meet deadlines, and I learned how to write on days even when I didn't feel like it.

(4) Read! It might not be impossible to write and sell a manuscript without reading what's out there in your field, but it's probably pretty close to it! I had a great YA class at Pitt, but anyone can walk into any public library and ask "What's hot in YA right now?" (or any other field) and begin their education for free!

* * *
Wow. GREAT interview, wasn't that? I think it's safe to say that Josh is a writer to watch. Josh is going to be a Big Deal. And if this interview alone didn't convey that, just look at his photo. I mean, clearly this is a man who is out standing in his field.

If you'd like to know more about Josh, here are some avenues, (all sanctioned by him, of course). To become Facebook friends click here (I recommend this highly). To see his Myspace page click here. Or to be, as he says, “updated about the book and the excitement that is my career” send an e-mail to joshberk (at) gmail.com. Prepared to be awed.

THANKS JOSH!

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Opdyke, Irene Gut. 1999. In My Hands: Memories of a Holocaust Rescuer.

I did not ask myself, Should I do this? But, How will I do this? Every step of my childhood had brought me to this crossroad; I must take the right path, or I would no longer be myself. You must understand that I did not become a resistance fighter, a smuggler of Jews, a defier of the SS and the Nazis, all at once. One's first steps are always small: I had begun by hiding food under a fence. Now I was making plans to... (142-143)

In My Hands is nonfiction--a memoir--and it's a powerful one. Full of descriptive images you might wish you'd never seen. But it's an important work, a necessary one. Our narrator, Irene Gut, was a Polish girl--a young woman training to be a nurse when the war burst into her life. The conflict between Germany and Russia stripping her of her childhood in more ways than one. Her account of what happened during the war years are powerful and haunting. But there is nothing over-the-top either. It's straightforward, spare, even.

This is her description of the purging of the Poland of Jews (I believe we're speaking of the ghettos.)

The gates were dragged open, and the Jewish prisoners were forced out through a gauntlet, while the guards beat at them with their rifle butts. An old man, tottering with a cane, was not fast enough, and a guard shot him on the spot. In vain, women tried to protect their small children from blows, men tried to shield their old fathers. But every time someone stumbled and fell under the beatings, shots rang out. The street was paved with bodies, and still the Jews were forced to march out over them.
We watched this from our windows in a paralysis of horror. We could do nothing but watch. We could not even pull back from the glass to keep hidden. An old rabbi carrying the Torah stopped to help a young woman with a shrieking toddler, and all three were shot. A graybeard in a faded uniform of the Polish army from the last war limped past the guards, and he, too, was not fast enough. The sun shone down on all of them, and the dust settled in pools of blood.
By this time, the four of us were crying uncontrollably. Helen was on her knees, sobbing in her mother's arms. Janina turned her face away. But I watched, flattening myself against the window. As I pressed against the glass, I saw an officer make a flinging movement with his arm, and something rose up into the sky like a fat bird. With his other hand he aimed his pistol, and the bird plummeted to the ground beside its screaming mother, and the officer shot the mother, too. But it was not a bird. It was not a bird. It was not a bird. (116-117)

This is how she sums it up, "We did not speak of what we had seen. At the time, to speak of it seemed worse than sacrilege: We had witnessed a thing so terrible that it acquired a dreadful holiness. It was a miracle of evil. It was not possible to say with words what we had witnessed, and so we kept it safely guarded until the time we could bring it out, and show it to others, and say, "Behold. This is the worst thing man can do."" (118)

© Becky Laney of Becky's Book Reviews

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Bryant, Jen. 2008. Ringside, 1925: Views from the Scopes Trial.

I'll keep this one short. And I mean it. Something about this one just didn't work for me. Maybe it was the fact that it was in verse. (Verse novels sometimes exist when they should just be prose. And nobody--but the author perhaps--know why they're in verse in the first place.) Maybe it had too many narrators to suit me. (I liked one or two of the narrators, but there were just too many in this case. All the shifting P.O.V's annoyed me. Maybe if it had been told in two--or just one for that matter--I would have liked it better.) The title says it all: Views From the Scopes Trial. It's historical fiction. It's based on fact. It's got multiple voices represented. If you're interested in the Scopes Trial and/or you're interested in American history in general, then you might want to seek it out. It may work for other readers. It may even work well for others. But not for me. Reading is subjective after all. So still give this one a chance if you come across it. You could end up liking it much more than I did.

Read Sarah Miller's review for a really positive spin on the novel that will completely balance mine out.

© Becky Laney of Becky's Book Reviews

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So I was going to post last night, but I didn't feel well. In fact, I started singing, "I feel ninety, oh so ninety, no one knows how ninety I feel. And I pity anyone who feels ninety tonight."
I feel a ton better today. Only I'm completely sunfried, like a tomato. I'm one of those people that doesn't tan. My skin is practically incapable of tanning.

Anyway, over at the YA Authors Cafe, they are discussing "Who is reading Young Adult books?"

I commented with the following story...

A few years ago, my mom suggested I read Ella Enchanted by Gail Carson Levine. I walked to the library with the intention of checking it out, but when I saw that it was with the kid books, I almost left it. I was embarassed to take it up to the circulation desk. I think I grabbed a thick bio about Ronald Reagan to balance it out...so the librarians wouldn't think I was dumb.
I've come a long way since then, and I think a lot of others have too. I read more YA now than adult lit, and I'm not afraid to recommend YA titles to adult friends. I know many adults that have read and adored books like Harry Potter, the Twilight Series, Shannon Hale's books, etc. YA books are getting a lot more attention these days, and I think they deserve it.


Now, I find out that MY DAD is reading Harry Potter. Not only is he reading the series, he stayed up until 3:30 in the morning reading HP 5. This is unbelievable to me. He was very opposed to reading a children's book when the Harry Potter hype began. I wonder if JK Rowling is responsible, in part, for making it acceptable for adult businessmen to read kid books. I mean, they ask "Who is reading YA?"

But I'm wondering, "Who isn't these days?"

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