Greetings to Roger Sutton, the Boston Globe–Horn Book Award judges, and everyone at the awards ceremony, from Elizabeth Wein in Warsaw, Poland. Between you and me today stretches a distance of over four thousand miles, and I do “mind the gap.”
I am both grateful and utterly stunned that Rose Under Fire has been named one of the Boston Globe–Horn Book Honor Books this year. I can’t tell you how sorry I am not to be there in person, to celebrate with you and meet the other award recipients, to eat and drink and talk and talk and talk with all of you. Because, in the words of Antoine de Saint Exupéry, “Nous demandons à boire, mais nous demandons aussi à communiquer.” We need to drink, but also we need to communicate.
When I began writing Rose Under Fire, I was fascinated by the flying bombs — the Vergeltungswaffen — that the Third Reich launched at southern England in the summer of 1944 immediately following the invasion of Normandy. These were, essentially, the first cruise missiles. I wanted my story to move from the receiving end of these weapons to the production line, at some point, which is one of the reasons I planned to set the second part of the book in the Nazi women’s concentration camp at Ravensbrück, where there was a German munitions factory. I felt that the plight of the prisoners there was one of the lesser-known events of the Holocaust — a gap, as it were.
It wasn’t until I began the research for this second part of the novel that I discovered the story of the “Rabbits,” the Polish women who were subjected to Nazi experimentation at Ravensbrück. I’d never even heard of them — another gap. And it wasn’t until I’d already read three survivor accounts and a nonfiction history of the camp that I discovered the story of the Rabbits’ rebellion against the camp authorities in the winter of 1945. Here, buried in the rubble of well-known history, was an amazing tale few people were aware of.
The irony is that during their internment the women known as Rabbits were desperate to make their own story public. They stole a camera and took photographs of their scars, which were later used in the Nuremberg trials; a fellow prisoner kept the single roll of film hidden for them for six months until her own release. While still imprisoned, the Rabbits smuggled a message to the Pope and received a blessing from him over the radio. They sent messages in invisible ink made of urine. They managed to get all their names read aloud over the radio by the BBC. Imprisoned, under sentence of death, even as they were starving, their driving purpose was to get their story out.
In Rose Under Fire, the need to communicate is as strong as the need for sustenance. “Nous demandons à boire, mais nous demandons aussi à communiquer.” The mission of the survivors of Ravensbrück in particular, and of the Holocaust in general, is to “tell the world.” I will say exactly what I said two years ago when I thanked you for giving Code Name Verity this honor as well: thank you for helping to bring this message of horror and hope to a wider audience. And thank you for helping to fill in the gaps.
For more on the 2014 Boston Globe-Horn Book Awards, click on the tag BGHB14.
The post Rose Under Fire: Author Elizabeth Wein’s 2014 BGHB Fiction Honor Speech appeared first on The Horn Book.
I feel very connected being here tonight.
I suppose my books — Grasshopper Jungle in particular — are all about connections.
I have a cousin who lived with my family of four boys when I was very young. Her name is Renata, she has gentle Italian hands, and she lives near Phoenix now. I’ve never known any other Renatas, although the name is fairly common in Italy, which is where my family comes from.
The American writer Renata Adler was born in Italy, too. In the novel Slapstick, or Lonesome No More!, Kurt Vonnegut quotes Adler as having said that a writer is someone who hates writing.
Let me tell you how strongly I empathize with that statement.
I’m sure my close friends, and especially Michael Bourret, my agent, and Julie Strauss-Gabel, my editor, know all too well that from time to time I have a propensity to melt down about this thing I can’t stop doing even when it feels like I’m tearing chunks of stuffing from my soul. I think all of us who write feel the same way on occasion. At least, I sure hope so.
I wouldn’t want to be the only one, after all.
So Vonnegut wrote about a note he’d received from his agent after Vonnegut’s own writing-related meltdown. The note said this: “Dear Kurt — I never knew a blacksmith who was in love with his anvil.”
I wrote Grasshopper Jungle after I decided to quit writing, which happened in the summer of 2011. I realize that’s a strange thing to say: I wrote after I quit writing. A lot of bad things made me feel really terrible about being a writer, which is a different thing altogether than simply writing. Being a writer was making me sick, and I was losing sleep over it.
So I quit.
The thing is, I couldn’t really stop myself from putting new words on empty pages, but I could escape from all the rest of the being-a-writer stuff that was dragging me down. So I wrote this story about some kids who are all in love with each other and who accidentally trigger the end of the world from the economically downturned heart of Iowa. I had no intention of ever allowing anyone to read it, because the book was, at its core, about loving something that also destroys your world, which was awfully close to how I felt about being a writer in the summer of 2011.
Because here’s the thing: I didn’t really want people looking into my head after writing a novel about pizza, genetically modified corn, medieval saints, christened (and sometimes dissolving) balls, Paleolithic cave painters, urinal factories, cigarettes, barkless dogs, war, sexual confusion, and how all those things made seamless connections according to my thinking.
After all, I am certain that everything really is connected in some way. So I tried to write a book that was about everything.
That summer of 2011, when I wrote Grasshopper Jungle, was a rough time for me. I had just dropped my son off for his first year away at university and I couldn’t stand the thought of our being separated — disconnected — by such great distance. I wasn’t ready to let him go. And I filled that book up with all my confused frustrations, firing shots at every just-like-it’s-always-been thing I thought was stupid and pointless and unfair.
And I guess my son missed me, too, because in September he asked if I had anything of mine that he could read. He didn’t care what it was I sent him; he just wanted to see some of my words again. So, I was scared, but I asked him if he wanted to read this insane thing I’d just finished working on, called Grasshopper Jungle.
He said yes, but I made him promise to tell me after he finished reading it whether or not he thought I ought to go see a therapist. My son read the book the same day I sent it to him. I’ll reserve the content of his follow-up call for some future speech. It was a real humdinger.
People in Iowa say things like humdinger.
My books are things that connect me to my family, many of whom come from Iowa. Well, my in-laws do, at least. And I don’t even ask them to read my books; they just do.
And I’ll admit that a lot of the time I don’t really want people to read my books.
I sure got my wish for the first half-dozen or so of them I put out!
But the reason I frequently don’t want people to read what I write is because I can’t help but slip in things that are intensely personal. I try to disguise those parts. Whether or not this strategy works is debatable.
A boy in Iowa sent me a photo of himself, standing in a cornfield and holding up his copy of Grasshopper Jungle.
A same-sex married couple in Iowa asked if I would be willing to be named godfather to their son, who is going to be born this month.
An adult man in Iowa sent me a letter thanking me for writing a book about who he was when he was a teenager. He told me his life would have been much easier if there had been books like Grasshopper Jungle when he was a kid.
These are all true stories from people I have never met.
This is part of my history.
Sometimes I can’t help but see all the connections that keep crossing right in front of me.
Among my closest friends are other people who work over the same anvil I do, especially Amy Sarig King, who has powerful German hands and comes from Pennsylvania. And, like Vonnegut, I feel a sense of kinship toward all writers — in particular those who are fortunate enough to work in the young adult and children’s literature community.
To you all, I will end with another line from Vonnegut’s Slapstick, or Lonesome No More!, which goes like this:
“I am a brother to writers everywhere…It is lucky, too, for human beings need all the relatives they can get—as possible donors or receivers not necessarily of love, but of common decency.”
You are, for the most part, a very decent lot.
This is an incredible honor.
For more on the 2014 Boston Globe-Horn Book Awards, click on the tag BGHB14.
The post Grasshopper Jungle: Author Andrew Smith’s BGHB 2014 Fiction Award Speech appeared first on The Horn Book.
