Category Archives: #canlit

When Embellishment becomes Enlightenment | Review of “Men Walking on Water” by Emily Schultz (2017) Alfred A. Knopf Canada

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‘Embellishment’ is not totally the nasty term that it is stereotypically made out to be. When a talented writer adds bits and pieces to historical facts in a well-crafted fashion, a great story is born. Then, if that writer adds a few interesting characters and some perfect dialog, that story turns into a great read. That is what proper ’embellishment’ does and that is exactly what Emily Schultz has done with her book Men Walking on Water.

Page 3

The man who connected them wasn’t a man anymore, but a body, hidden deep beneath the green ice of the Detroit River. The group of rumrunners huddled on the shore, consulting on what had just happened. All knew the doors of the old Ford had been removed for ease of exit in exactly this circumstance, yet apparently Alfred Moss still sat inside. The Doctor claimed to have seen the car go under and no one had seen the driver since.

Moss was dead: to begin with. “There is no doubt whatever about that,” the Doctor said.

For many of us who grew up in either Michigan or Ontario, we have heard certain long tales over and over agin. Yes, there was a prohibition of sale of alcohol at one point and the there was a flurry of all sorts of colourful characters who dealt in the distribution and selling of ‘booze.’ But Schultz has added a bit of flavour to those stories here. We start out with the story of a man and a loaded car filled with illegal whiskey and money crashing through the ice of a river. Out of that incident, a cast of characters emerge that are drastically affected by incident.

Pages 30-31

There was a light on in the back, and although the drive was empty, a blue Packard parked on the street two doors over let Ernest Krim know what he would find: Elsie Moss was awake, but not alone. Moss had intimated as much – several times, in colorful language – but Krim hated to believe the worst of anyone, especially, a woman.

It was nearly three thirty. He approached the house slowly. The first lie had been harder than Krim had imagined. All eyes had been on him – Bunterbart’s and Zuckerwitz’s and Samuel’s and Bob Murphy’s as well as the others’. They all took it more personally than he’d anticipated, but especially the boy, Willie Lynch, who looked as though someone had put a shot right through his gut. Krim couldn’t recall the last time he’d lied – maybe during the war to his officer, or to his mother – but he hadn’t remembered it being so damn hard. The words had felt like little stones on his tongue. Three thousand, Moss had promised him, and he’d wire it. the idea of money moving like electricity made it seem hot and unreal, something only a fool would touch. Krim realized he should have asked for cash, that a part of him had hoped to find Moss at the train station for that reason. He ought to have haggled for five, or even the full ten Moss said he was taking. But he was a friend.

This book is an epic written in 1920s jargon. We slide in and out of characters’ thoughts and emotions while witnessing their actions with ease. Schultz does a great job of showing the duality of the nature of the character at times. We get a true understanding of a character’s intent even if their spoken words and actions appear sincere.

Page 68

“He must like you, reverend,” Elsie said, her tone more defeated than pleased, though she straightened up inside her coat and held the baby out to show a certain amount of pride.

It had been a long time since they’d seen each other. Prangley noticed Elsie’s face growing pink. Her hand inched up to check her hair and push the gold curls around. The reverend smiled, the divot in his upper lip pressing in, deepening into a flat gray dime shape. He could see she was recalling how she’d thrown herself at him, years ago. A floozy who’d turned afraid at the last minute – he couldn’t think of a worse type. She would do fine without her husband; he’d wager hard cash on the fact that she would find another within the year. Prangley reached out and poked at the baby’s blankets, feigning interest. the tiny boy caught his finger in its fist.

“What’s his name? Are you here to arrange the christening?” Prangley knew better than to glance at Elsie. Lies were easy to discern in a gaze but difficult to catch from the tone of voice. “Yeeesss, yeeesss,” he cooed at the homely thing. Its face was wrinkled and red as coral. “You’re a strong boy, aren’t you? Nice and strong.”

Emily Schultz has embellished strong elements into a history lesson with her book Men Walking on Water. Not only do readers get true understanding of the period but an glimpse into the natures of people. A true work of literature.

*****

Link to Penguin Random House Canada’s website for Men Walking on Water

Link to Emily Schultz’s website

Link to my Q&A with Emily Schultz – “It’s funny how families sometimes repress their best tales. From there, I began to spin a yarn about a rumrunner.”

(M)y books often explore how writing and creativity give my characters tools to deal with the world | Q&A with author Alice Kuipers on her novel “Me (and) Me”

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Alice Kuipers is a very popular author of Young Adult fiction and one of good merit.  Her newest book  –  Me (and) Me –  is already garnishing praises on from all manners of readers and bringing new fans to her works. Kuipers was kind enough to answer a few questions for me and include me in her blog tour of her new book.

*****

1) First off, could you give an outline of the plot of Me (and) Me?

Hi there. Thanks for interviewing me! The description of Me (and) Me from my website is this: It’s Lark’s seventeenth birthday, and although she’s hated to be reminded of the day ever since her mom’s death three years ago, it’s off to a great start. Lark has written a killer song to perform with her band, the weather is stunning and she’s got a date with gorgeous Alec. The two take a canoe out on the lake, and everything is perfect—until Lark hears the screams. Annabelle, a little girl she used to babysit, is drowning in the nearby reeds while Annabelle’s mom tries desperately to reach her. Lark and Alec are closer, and they both dive in. But Alec hits his head on a rock in the water and begins to flail.

Alec and Annabelle are drowning. And Lark can save only one of them.

Lark chooses, and in that moment her world splits into two distinct lives. She must live with the consequences of both choices. As Lark finds herself going down more than one path, she has to decide: Which life is the right one?

That gives the opening. After that the book is structured around both of Lark’s lives as she tries to figure out how to put her life back together again. Each choice has good things and bad things about it—but Lark spends the book encountering glimpses of the life she isn’t leading and that sends her into a tailspin. I’m not sure how much to say without spoiling the story!

2) Was there anything that inspired to write this book? (If yes, what was it?) Is there anything you are hoping the book will accomplish?

I started writing this book when I was eighteen, but I had a whole different set of characters and ideas at the time. Suddenly, about three years ago, the character of Lark came to me and from there, the ideas from the unpublished book I wrote when I was eighteen realigned. As to what I hope the book will accomplish, well, that’s an interesting question. I don’t really think while I’m writing the book about anything other than the story. And then when a book goes into the world, I let it go. A book is a co-creation between the author and the reader, so, if anything, I hope that I’ve given the reader a lot of room in the story to bring their own ideas and imagination. I hope the story becomes the living, breathing thing it was for me when I wrote it.

3) Your website lists this book as your seventh published book. Has your writing change since you began writing? If yes, how so?

My writing has changed because when I first started writing I had no idea what I was doing. I had to spend a lot of time reading books on grammar and studying writing to be able to write the ideas in my head—that’s why the first time I tried to write this book, it didn’t ever get read by anyone else. I just didn’t even know how to punctuate speech correctly (to be fair, that is hard!) My first published book was at least my sixth attempt at writing a completed novel. And then during the editorial process for each of my published books I learnt so much about writing that I felt like a beginner all over again. As a writer now, I am more confident sentence by sentence, but I find it very hard to create a whole book—and that’s what stimulates me as a writer too—the challenge.

But thematically, my books often explore how writing and creativity give my characters tools to deal with the world. Lark is a singer-songwriter and she uses her songs to help her deal with her new, crazy life. That part was really fun to write.

4) Are you planning a book tour or any public readings of Me (and) Me? If yes, are there any particular events or dates you are looking forward to? Are public readings something you enjoy participating in?

This blog tour is a great way for me to share the book with readers, along with public events and readings. I have four small children so I try to do a lot of publicity from my couch—but I’m looking forward to the Literacy For Life Conference in Saskatoon (Link here) on May 1st and 2nd, when I’ll share the book with 2000 local students. The Festival of Words in Moose Jaw (Link here) is going to be great fun too—me, plus the children, plus my partner (Yann Martel) who is a writer too, plus the spa in Moose Jaw, plus a lot of eager readers and writers! I do enjoy doing events but they make me a little nervous. Speaking to a big group of people can be intimidating, until I remember that I am not talking about me but about my books. And hopefully I’m giving the people I’m speaking to some ideas about writing that are useful for them, too.

5) You seem to be active on numerous social-media sites. How do you like using those sites in relation to your writing? Is there one platform (like Facebook or Twitter) you enjoy hearing from fans of your work?

I love hearing from readers and I think as an author for teens it’s a good way for them to reach out to me. I enjoy being active on social media—it’s a fun way to procrastinate and connect with a bigger world. (Link to Alice Kuipers’ Twitter account) (Link to Alice Kuipers’ Facebook account) Writing involves me tuning out of the world—I am alone with my thoughts and my books. Social media opens the world up so that I can hear from readers and writers about the books and stories that spark their worlds. I like all of the platforms that I use, but my current favourite is Instagram where I regularly post writing prompts for people.

6) You have a program on the internet called Freeflow: A Writing Journey in which you have had budding writers learn skills on how to write? How has that been working out?

That course is free for anyone who signs up to my newsletter and it has a lot of people working through it online. I also have a course with Children’s Book Insider (Link Here) called Chapter Book Blueprint that has been a lot of fun too. I love working on online courses as, again, I’m reaching out from my sofa. It means I can share my ideas about writing with other writers, but then turn to my bouncy children (who are all under the age of eight) and spend a lot of time with them too. I can work around their schedules.

7) Are you working on anything new right now? If yes, are there details you care to share?

Yes, I’m always working on something new. Right now, I’ve been working on a YA novel about a girl who claims to be from the future, and a YA memoir about travelling around the world with panic disorder when I was eighteen. I’ve also got a chapter book series upcoming with Chronicle Press, which is exciting. The first book comes out in 2018. It’s called Polly Diamond.

8) Your biography on your website lists you as living in Saskatoon. How do you like living there? Are there any cultural institutions or landmarks there that you enjoy that help you with your writing?

I’ve been living in Saskatoon for thirteen years now and we have a good life here. The children go to a great school, we have a close community of friends, and we enjoy everything the city has to offer. The winters are a bit long for me, but I’ve learned to cross-country ski, which helps. This year we did a lot of ice-skating too. Saskatoon influences my writing, absolutely. Walking by the river seems to come up for my characters in all of my books now, based on my walks along the Meewasin Valley Trails.  (Link here) I also enjoy Living Sky Café (Link here) in the old Mendel Art Gallery space, and The Children’s Discovery Museum (Link here) is a great place to hang out with the kids and get ideas for stories. I spend a lot of time at my children’s school at the moment—meeting with kids and talking about writing with them seems to help me with my own writing a lot too. And then I go to D’Lish regularly (Link here)—which is the name of the café in Me (and) Me.

*****

Link to Harper Collins Canada’s website for Me (And) Me

Link to Alice Kuipers’ website

 

 

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Engaging the Younger Audience on their own Terms | Review of “The Death of Us” by Alice Kuipers (2014) HarperTrophyCanada

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I am always asked to recommend books for young adults, usually by parents looking to recommend something for their kids to read. It is usually something I am somewhat nervous in doing. I am not sure that I understand the lives that most teenagers have these days. But there are books that are written for that age group that I enjoy. And The Death of Us by Alice Kuipers is certainly one of those books.

Callie Page 5

I get it, I do. The have a baby now and they’ve done their part: what a successful, balanced teenager they’ve created.

I don’t take drugs. Check.

I don’t drink. Check.

I don go to wild parties. Check.

Okay I have a couple extra piercings in my right ear that Mom  hates. And I’ve dyed my hair black, which Dad moans about. And he definitely can’t understand why the dark-blue nail polish, with one green nail on the fourth finger of each hand. I’ve told him there’s nothing to understand.

Still, I keep my room tidy. Check.

I get my homework in on time. Check.

I’ll get into any university I want, probably. Check.

I’m perfectly bone-crushingly normal. Check. Check. Check.

If only I didn’t feel like I do right now around my parents, we could all just get along like we used to.

I originally picked up this book for research into another blog piece but I feel it deserves to be mentioned here. We have three protagonists in this story  who move the plot along by giving their points of view: Callie, Ivy and Kurt. Callie seems to be up for going through an average summer until her old friend Ivy shows up after a three-year unexplained absence. Although somewhat hesitant at first to renew the friendship, Callie is soon going to parties and trying new clothes and much more new activities with Ivy. However when a handsome boy appears on the scene, the friendship grows more than toxic.

Ivy Page 49-50

Kurt beeps the horn outside my house. Mom’s asleep on the couch. She’s gorgeous when she’s sleeping. I spot a text on her phone from Kevin. Dirty words. Gross. I tuck the phone next to her. She stirs, the sour stink of her rising like steam. Screw it, Mom, two days we’ve been back. Don’ you think Kevin’s gonna notice? I take the bottle.

The room is dark, curtains drawn. No one’s watching but I check around anyway. I put the bottle to my lips and hold it there. Then, slowly, I take the bottle away from my mouth. I won’t drink. I’m notlike her – see how easy it is, Mom not to drink? We’re the result of the choices we make every day and this is my choice. I pour the bottle out into the sink, wishing she didn’t always find a way to get more. But I’m not going to waste energy thinking like that. I count one, two, three, four, five.

I’m ready for the boat trip. Summery dress for a sunny, summery day. Kurt beeps the horn again. I’ve made him wait long enough, poor boy. Men are like dogs, they need training, and every dog needs a reward when he’s done good. Kurt has been very patient. I pop my gum in my mouth, step down the porch stairs and slide into the back because there’s another guy in the passenger seat – a thin guy with a beard and glasses, crouched over because he’s so tall . . .

Kuipers has written a narrative here that is honest and frank. The language hasn’t been filtered or corrected by any means, making it an honest read for any young mind to follow. The issues in the story are current for today’s audience. Kuipers drops hints during the story that something massive is going to happen to the trio in the end but does an excellent job in keeping readers in suspense, ensuring readers are enraptured to the end.

Kurt – Pages 119-120

I glance at the black coffee. I can’t drink it. Inertia. I don’t like it about myself, wish I could be more decisive, but when things get tough I blank out. Freeze.

It was the only way to protect myself when I was a little kid. When my mom tore up the world around me. There’s no way to explain to most people, people like Callie or Xander, that life can be so bad sometimes the only way to deal with with it is to pretend none of it’s happening. Or, the opposite. Life can be so good, the possibility of the future so awesome that the only way to protect yourself from ruining it is to sit back. Let the opportunity slide by.

The Death of Us by Alice Kuipers is a unique and enlightening read for  a younger audience. It is a page-turner and a great exploration of thoughts and emotions. In short, a truly exceptional book.

*****

Link to HarperCollins Canada’s website for The Death of Us

Link to Alice Kuipers’ website

“(W)e have the privilege of listening to the worst crimes on the news for twenty minutes, then shutting it off and thinking about getting new shoes or what to make for dinner for the next hour. But shouldn’t fiction go deeper, explore the hard parts?” | Q&A with author Rebecca Rosenblum on her new novel So Much Love

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Image linked from the author’s website

It is always a thrill for me to talk about a writer who has honed their craft through a collection of short stories who finally releases a complete novel. And Rebecca Rosenblum is such a writer. She brilliantly documented elements of human condition in her short story collections such as The Big Dream (Link to my review) and Once (Review coming shortly). Now her first complete novel So Much Love is out and should be a stunning read as well. Rosenblum took some time out from a busy book tour to answer a few questions for me.

*****

First off, could you give a bit of an overview of So Much Love?

The main story in So Much Love is about a young woman named Catherine Reindeer who goes missing and, first, what those who knew her go through in her absence also what happens to Catherine herself. But there’s also a thread woven through about a poet Catherine admires, Julianna Ohlin, dead many years, and what her life amounted to, or how Catherine imagines her. That’s a lot of different stories, because the people who miss Catherine each get their own voices and experiences and so does Julianna and the people in her world. That is how I like to experience the world—lots of different viewpoints, as a way to piecing together my own. In the end, with careful editing, I think Catherine’s powerful conclusion.

2) Was there anything specific that inspired you to write this book? Is there anything you are hoping to accomplish with So Much Love?

I was interested in the way that, first, female artists are often conflated with their biographies. This happens to men too, of course, but it seems much stronger with women. Even in an academic context, a woman’s art is indivisible from her life, her suffering, her love affairs in a way that I don’t think would be conceive able for a man. I was also interested in the way that there’s a kind of style or genre of fiction where a crime forms that backdrop, and much more mundane dramas form the main action. In truth, that is the way many of us live our lives, and thank goodness—we have the privilege of listening to the worst crimes on the news for twenty minutes, then shutting it off and thinking about getting new shoes or what to make for dinner for the next hour. But shouldn’t fiction go deeper, explore the hard parts?

3) According to your website, your previous books have collections of short stories. Was it a major difference to now write a complete narrative for one book? How long did it take to write So Much Love?

Yes, I found it very challenging, and I had a lot of help. I took earlier runs at writing this novel—one starting in 2000 and one in 2004, but I just didn’t yet have the writing chops to make it through this complicated and challenging story. Then after graduate school in creative writing and two collections, working with an excellent editor (the rightly revered John Metcalf), I started again in 2011 and was able to get all the way through, after a fashion, though at that point the book was linked short stories. When McClelland & Stewart bought the book, my editor Anita Chong asked me if I was willing to edit it into a novel and I said yes—that was what I had wanted all along, I just couldn’t make it work. It took more than two years and I lot of blood, sweat and tears from both of us—along with over 30 000 added words—but we did it!

4) Are you planning any public readings of So Much Love? If yes, are there any dates/events you are excited to be participating in?

I’m actually typing this in Vancouver, and will be reading tonight at the Vancouver Public Library as part of the Incite series presented by the Vancouver Writers Festival. But by the time this gets posted I’ll probably be looking forward to my reading at Pivot at the Steady April 19 (Link here), which is going to be super fun, and then on April 22 I’ll be reading at the Making Room launch party in Toronto for an anthology that celebrates 40 years of Room magazine (Facebook link here)

5) Are you working on anything new right now? If yes, are there details you can share?

When I finally signed off on the last version of So Much Love, I did get started on a new project that I’ve been thinking about for a while—a father-daughter novel that takes place over many years. I enjoyed working on it, as the book is more light-hearted than So Much Love but still with some darker themes, but I had to put it aside first for some personal problems and then for the promotional work on So Much Love. I’m really looking forward to getting back to it when the excitement dies down, though.

6) You seem to have an active profile on Facebook. Many of my followers always want to know what is the best way to keep up to date with their favourite writers (New works, events, etc.) . Are you using Facebook for that regard? Do you have any plans to expand your social-media presence to something like Twitter or Google Plus?

I think the best way to find out about new work, events, and publications from me would probably be my twitter account, (Link to her Twitter account here) or my website/blog, www.rebeccarosenblum.com My Facebook and Instagram accounts both have a lot of personal stuff mixed in—unless you care a lot about cats, things I ate, and pictures of my husband, those would be less of interest. I never made the leap to Google Plus and now I hear it is shutting down so I guess I never will.

7) Your biography has you listed as living in Toronto. How do you like living there? Are there any specific cultural institutions or events there that inspire you as a writer?

It took me while but now I love Toronto so much I can’t imagine ever leaving. A lot of that has to do with people, though—my friends, my family, some of my in-laws, and a lot of the literary community that I know are there. But there is also so much good stuff—from the Jays to Allan Gardens to the ROM to Bluffs—that I adore in Toronto. I love just walking down the street and looking at stores, and I know so many people I pretty often run into someone I know. I have lived there 15 years and despite the challenges, I feel truly at home there. I did my masters in creative writing at University of Toronto and that is just a gorgeous campus. I loved getting my degree there but I know others have legit complaints; however, no one could dispute the loveliness of the St. George campus. I’m still happy to hang out at Hart House or one of the libraries if I have a writing day and feel like getting out of the house.

******

Link to Penguin Random House Canada’s website for So Much Love

When That One Person Appears to Fail Us | Review of “The Best Kind of People” by Zoe Whittall (2016) House of Anansi

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We all rely on that one person. Be it a family member or a trained professional or even a politician. We need them to be strong people who support and care for us. Yet when that one person even gives the appearance of faltering or failing us, our whole world falls apart and we are sometimes too stunned to move. That element of the human condition is what Zoe Whittall brilliantly documents in her novel The Best Kind of People.

Page 20-21

Sadie felt a brief moment of birthday excitement, and then the house seemed to shake with a pounding on the front door, followed by an insistent baritone call: “We’re looking for George Alistair Woodbury!”

“What’s going on?” Sadie said, peering through the kitchen entrance and down the hall to the foyer. Red and blue flashed through the open windows, a light show for the symphony of cicadas. She approached the door tentatively. George sat back down at the table, staring into his glass of wine.

“Sadie, don’t. I’ll get it,” Joan said as she approached the door, peering through the peephole cautiously. She opened it slowly to find two plainclothes detectives and several uniformed officers.

“Hello, ma’am, is your husband home?”

They made it only a few feet down the front hall before spotting him through the living room, still at the kitchen table. He stood, knocking over his glass. It pooled, then slowly dripped onto the kitchen floor.

For months Joan would replay this moment, trying to decipher the look on her husband’s face. Was it guilt? Confusion? Indignation? Stoicism? Acting? But nothing, not even a revolving camera of omniscience, a floating momentary opportunity to narrate, would allow anyone to truly understand the truth about George. He became a hard statue, an obstacle, a symbol.

The father and the husband, from that moment, had been transformed.

The brilliance of this novel is that the main character is rarely allowed to make an appearance or speak. We have George Woodbury – teacher, husband and father – whisked away and arrested for sexual impropriety at the local school. Each member of his family must endure the community’s scorn while dealing with their own questions of his guilt or innocence. A whole wash of thoughts and emotions are dealt with as we read through the book.

Page 202-203

The next afternoon, she drove thirty-six miles to the Woodbridge health clinic that hosted the support group for women with partners in prison. She arrived half an hour early, sat in the car, and watched women park their cars and go in through the side door. It was windy, and she put her hat in the glove compartment lest it blow away but then didn’t get out of the car. More women arrived, some in minivans, others in compact cars; a few walked from the busy stop. She felt the same way she had felt when she was young and travelled to different countries: surprised that the world still looked familiar. The parks in Sweden and Morocco looked like regular parks she’d seen at home. The women who parked their cars and walked into the centre looked like anyone. It’s not as though she expected them to be wearing neon signs that said Married to a Pervert, but she had expected to see something that would give away their status, an indication however subtle, some sort of obvious physical sign of weakness. She looked at her phone, turned it to silent, and applied some Carmex to her lips. They were dry and flaking, no matter how much water she drank. The stress showed on her face. Every step felt heavy as she made her way inside.

Joan lingered outside in the basement hallway in front of a display of health pamphlets. She pretended to be interested in the details of diabetes treatment, as though she couldn’t have written the entire pamphlet herself from memory. She waited so long to actually enter that she was a few minutes late, and walked in while a woman was speaking.

“The way I see it, he’s sick. It’s a sickness. You can’t control what you’re born with, right? My one kid’s got the Down’s syndrome. He can’t help that neither. Now he’s been found out and he can get help and he wants to get help. Who am I to leave now? I believe in second chances.”

The woman who was talking resembled a pug dog; she had one of those smooshed-up faces. Joan took one of the two empty seats around the circle and couldn’t stop herself from thinking that if the woman didn’t hang on to this guy, she’d probably have a hard time finding some other man to replace him. then she felt awful for thinking that.

Whittall does an excellent job of going through the thoughts of a wide-range characters and describing their range of emotions. The prose she uses in a everyday kind of language, making the book easy to understand. But make no mistake, this isn’t a type of book that should be rushed through either. There is well-crafted detail and thought put in here and any reader should ponder the well-chosen words carefully.

Page 146

“Thanks,” Andrew said, watching Stuart take another paranoid scan. “I’m sorry for snapping. It’s happened really quickly and I’ve been buried in legal documents and I don’t really have perspective, you. My dad and I, we were starting to get close again. It’s so fuckin’ weird.

“Yeah . . .”

Andrew started back towards the door. Stuart called after him.

“I just wanted you to know that you really were my true love . . . ”

Andrew turned. Stuart was standing close to him now. He could smell hours of beer on his breath and was slightly revolted, yet at the same time he felt a familiar wave of nostalgic attraction. Stuart leaned in to kiss Andrew, holding his hands at the waist like they were kids at a school dance. The kiss was gentle, and Andrew pulled back before it got sloppy, or before he tried to draw him into a hug. the smell of Stuart’s cologne and cigarettes was enough to make Andrew feel as though he could fall over from the associated emotions.

The Best Kind of People by Zoe Whittall is a brilliant, modern novel dealing with important elements of the human condition. It is well-thought out and well written. In short a great read to ponder over.

*****

Link to Zoe Whittall’s website

Link to House of Anansi’s website for The Best Kind of People

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On the Path to a New Awareness | Review of “Secret Path” by Gord Downie and Jeff Lemire (2016) Simon & Schuster

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Cover of Secret Path by Gord Downie and Jeff Lemire. Image linked from the Secret Path website

The beauty of a well-crafted book is in the detail that goes into the enlightenment that a reader receives into an element about the human condition. The right combination of words plus the perfect shades of light and dark colours of an illustration can bring light an injustice that occurred in the world. Readers can ponder carefully over those details of that book and slowly become aware of the injustice and  – in turn –  start dialogs with other individuals about that sad element. And that complex process is what Gord Downie and Jeff Lemire have done with their graphic novel Secret Path.

The Stranger (Excerpt)

I am the Stranger

You can’t see me

I am the Stranger

Do you know what I mean?

I navigate the mud

I walk above the path

Jumping to the right

And I jump to the left

On the Secret Path

The one that nobody knows

And I’m moving fast

On the path that nobody knows

And what I’m feeling

Is anyone’s guess

What is in my head

And what’s in my chest

I’m not gonna stop

I’m just catching my breath

They’re not gonna stop

Please, just let me catch my breath

I am the Stranger

You can’t see me

I am the Stranger

Do you know what I mean?

 Downie and Lemire have done something brilliant here by bringing the story of Chanie Wenjack and the residential school system to light for the reading public. Wenjack died a young man trying to get back to his First-Nations community after experiencing brutal institutional care at a residential school. He attempted a 400-mile trek along a railway line to get home, yet the journey proved to be too much for him.

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Illustration from Secret Path by Jeff Lemire. Image linked from the Secret Path website

Lemire has described Wenjack’s story with his illustrations in a bold fashion. The frames that show Wenjack’s memories of his home have a warm rose feeling to them while the cells that show his experiences at the residential school and on his attempted journey home at cold, dark with a tinge of blue. A reader clearly senses the range of emotions that Wenjack felt as they follow the story of his trek home.

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Scanned image from Secret Path. Illustration by Jeff Lemire

Gord Downie has not only proven himself here as a classic wordsmith but also a great storyteller. While many of his fans know him as the front man for the musical group The Tragically Hip, it is bringing this story of Wenjack to life for us readers that shows his consciousness and the depth of his soul. He has carefully crafted a few brilliant phrases into our memories about Wenjack, breeding empathy in our minds for the tragic wanderer and causing us to discuss him to our peers and our leaders.

 

 

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Scanned image of “Son” by Gord Downie. From Secret Path (2016) Simon & Shuster

This book does exactly what great literature does. It brings to light an important element of the human condition that may of been overlooked through other means and creates thought, discussion and discourse among readers. It is a brilliant book and one that should be pondered over.

Quote from the back cover of Secret Path:

Chanie Wenjack haunts us. His story is Canada’s story. We are not the country we think we are. History will be re-written. All of the Residential Schools will be pulled apart and studied. The next hundred years are going to be painful and unsettling as we meet Chanie Wenjack and thousands like him – as we find out about ourselves, about all of us – and when we do, we can truly call ourselves “Canada.”

Secret Path by Gord Downie and Jeff Lemire is a brilliant book which should be held in prominence on any bookshelf. It breeds empathy and creates thought and discuss which, no doubt, will lead to action on improving an injustice to the human condition.

*****

Link to the Secret Path website

Link to Gord Downie’s website

Link to Jeff Lemire’s blog

Defining the Desperation of Violence | Review of “Waste” by Andrew F. Sullivan (2016) Dzanic Books

Waste

We tend to look at violence as a simple act. But we never really look at the complex roots of what causes people to turn violent. What makes one person act out with anger and malice?  What is the result of violence after the act? Those and a myriad of other issues surrounding violence are the thoughts that one ponders after reading Andrew F. Sullivan’s complex novel Waste.

Page 11-12

Connor Condon always hated his name. He hated the concussive force of those two C’s crashing out of his mother’s mouth every time she was pissed, back when they’d lived in his grandmother’s apartment. The sound chased him from room to room, rattling the dusty shelves and weaving its way through porcelain bears to find him hiding under the pullout couch he shard with his mother.

“We need you to wake up, and don’t you dare puke again.”

It wasn’t until sixth grade that Connor’s name truly became a curse in the outside world. The new bus driver, Marlene, believed she had to take attendance. Her tongue seemed far too big for her mouth when she drawled out his name through pierced lips.

“Tommy, just slap his face to wake him up. One good slap.”

All Connor heard were titters of laughter from the backseats. The bus driver’s massive tongue had mangled his name somehow. Kids stopped sitting beside him. Connor Condom. The name followed him for years, hunted him down hallways and trapped him in bathroom stalls, kids breathing down his neck, asking if his father was a Durex or a Trojan.

“Probably would have been easier if he was wearing clothes.”

A Thursday. It was a Thursday in tenth grade when they pulled the plastic bag over his head on the bus. The driver was too busy navigating a left-hand turn to see Connor’s face slowly turning purple as the bag pulled tighter and tighter. Connor remembered now that there was a green Chevy stalled in the turning lane. Before he passed out and smashed his face against the window, he noticed there was a receipt for Kmart in the bottom of the bag.

“Did you bring extra batteries, Al?”

For the next week, they had Connor in the hospital, measuring his breathing and brain activity every hour. They drained fluid from his brain on the second night. Connor did not remember that week. Two weeks later, he emerged with a new learning disability, a severe lack of hand-eye coordination, and a constant migraine. He walked home from the hospital.

Sullivan has done a brilliant job in taking a look at a ‘macro-sociological’ issue and brought it down to a level that many of us can relate to. Set in the city of Larkhill in 1989, we follow a group of the town’s citizens attempt to survive an economic downturn. Yet as one act of violence  – a car accident involving a pet lion, a murdered individual found in the woods months after his demise – seems to bring on a call for revenge or fear by a one or two people of the town. And the ‘infection’ of violence seems to grow.

Page 33-34

Everyone called the rambling motel Da Nasty. It leered out over the other smaller buildings on the block, five stories of clapboard and stucco. Moses had moved Elvira from motel to motel over the first few years of their exile, dodging the police and Children’s Aid while riding his bicycle to school. Elvira started collecting her bowling balls again, taking them into the shower with her. There were always complaints from housekeeping staff and neighbors concerning missing missing credit cards and stolen purses. Aliases like Allison Cooper, Joanna Page, Paula McCartney, and Gina Simmons littered the guest books of the tired, neon-coated hovels along the wide strip of the utility road.

Moses hated elevators. The spaces were too small, the walls always mirrored. Reflection after reflection of his pimply skull refracted to infinity till each pore glared at him. He always took the stairs up to the second floor and walked along the thick orange carpeting running his hands along the wall, looking for an open door, a wallet sitting on a dresser, a purse left in the bathroom. Occasionally he walked in on couples locked in complex positions he’d  only seen in the pay-per-view movies. He would only order those after his mother passed out in the other double bed, moaning about her poor doggies and the betrayal of Big Tina.

“Mom, you around? I didn’t end up bringing back any food yet?”

The room still smelled liked moth balls and Pepto Bismol. The dark purple carpet was covered in cigarette burns. The blinds to the balcony were closed. Most of the balconies in Da Nasty were locked. There were too many lonely men romancing the concrete five stories down. Pigeons and a lone red-tailed howk now ruled the balconies, slowly coating the rails in white each summer, only to have it washed away by the rain and snow every winter.

“Hey, Mom, you here?”

Sullivan weaves a great mise-en-scene with this book by going from descriptions to thoughts/conversations of one of the characters. In taking one’s time in reading the book, we get a feel of a general situation and understand why the characters are pushed into doing what they do. We are forced to ponder each situation and reflect on it later on. The language is simple and frank at times but that adds to the colourful story.

Page 107

B. Rex had a new tattoo emblazoned on his neck. It was dripping

“You didn’t do that one yourself, did you B?” Moses said.

The car bounced over the potholes on the utility road. The neon lights of the highway strip faded behind them as the Buick nursed its way through the slush. No one came down here.

“Yeah. This morning. Had the money, finally, not like it was a big job, but I’ve been getting stiffed by the folks lately. Think they’re still mad about me trimming the hair.”

B. Rex had the worst ingrown hairs of the three, mainly due to his refusal of the disposable razor at Logan’s house a few months earlier. He brought his grandfather’s straight razor from World War II instead, a family heirloom his grandfather kept in the study with his tax receipts and old Playboy magazines. B. Rex cut himself eight times before finally accepting the shaving cream and disposable Bick. He wore a hat for a while afterward until the scabs fell off.

“They still won’t let you work, huh?” Moses said.

“Nope. Mom says as soon as I start earning my own money, that’s the last they’ll see of me, and I mean, they’re right,” B. Rex said. “Oppressive as shit. I can’t even take like a shit without my dad asking about the size and color.

Andrew F. Sullivan has created a great book about people dealing with desperation and violence in Waste. It is a read that should be carefully read and consider but definitely one that has all the markings of the start of some great thoughts and discussions.

*****

Link to Andrew F. Sullivan’s website

Link to Dzanc Books website for Waste

Link to my Q&A with Andrew F. Sullivan -“I wanted to write a Canadian book that dealt with violence, small scale, but very real violence we often ignore or don’t read about. It’s a currency we trade with each other.”

 

“It took me one year to complete Skunk On A String . . .But it took me nearly a decade to figure out how to get the skunk down from the balloon.”| Q&A with Illustrator Thao Lam

For many of us, (And especially for those of us who must engage the world in a digital manner) illustrations are something we glance over and pass by. But in many cases, illustrators are people whose skill and craft adds a complex dimension to a book for readers to enjoy. Thao Lam is a illustrator whose ideas come through in careful planning and detail. She recently answered a few questions for me about her work.

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1) How long did it take you to create “Skunk On A String?” Was there anything specific that inspired you to create the book?

It took me one year to complete Skunk On A String. This includes storyboarding and illustration. But it took me nearly a decade to figure out how to get the skunk down from the balloon. Many years ago while I was in the shower, an image of a skunk tied to a balloon popped in my head. I never proceeded with the story because I couldn’t figure out how to get the skunk down from the balloon. Over the years I thought of many scenarios, like having the skunk rescued by an astronaut because he made it to the moon via balloon, but all those scenarios were too far fetch.

2) Where did you find your materials to create ‘Skunk On A String?’ Any idea on how many pieces of paper it took to create the complete book?

I lost track of how many pieces of paper were used in the making of Skunk On A String – too many to count! The assortments of paper came from papers I collected over the years; The Paper Place in Toronto; art stores around the city, and I order a lot of stuff from www.scrapbook.com

3) How has been the reaction to ‘Skunk On A String?’ Has there been any memorable experiences you care to share because of the book?

So far the reaction to the book has been really positive. The trailer for book has hit an all time high for Owlkids Books https://www.youtube.com/watch?v=S781wbPaQ_k. It’s received great reviews and even a star from Kirkus. Since Skunk On A String is my first book, every moment has been memorable. I think my favorite moment was spotting copies of Skunk On A String at my favorite children’s book store, Mabel’s Fables. I have been going to this book store for years and would spend hours at the store browsing for inspiration and discovering amazing books, authors, and illustrators. It blew my mind to see my book in print along with those I admire.

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Image from “Skunk On A String” by Thao Lam. Image linked from the Owlkids website

4) What inspired you to go into illustration? Who are some of your fellow illustrators that you admire?

As a kid I would spend hours in the children’s section of the library pouring over books — something I still do as an adult. The idea that you get to spend your day drawing and being creative was mind blowing so there was never any doubt in what I wanted to do when I grew up.

Illustrators I admire: Jon Klassen, David Wiesner, and Isabelle Arsenault are my top picks if I were to get stranded on a desert island.

5)  Do you do many public events in relation to your work? If yes, is that something you enjoy doing?

I totally enjoy doing public events (though I still get stage fright each time). Skunk On A String has opened many opportunities and has introduced me to many folks in the industry as well as book fans. For example I got the opportunity to talk to some librarians and teachers at the Ontario Library Association Super Conference (OLA), which was great because I learned a lot about reading a wordless picture book to an audience. I am a big wordless picture book fan and have quite a collection of them but I have never shared one with an audience before so the advice I got from the OLA came in handy when I did my first reading. I especially like doing school visits, seeing kids get excited over books makes me smile!

6) You seem to be active on social-media platforms like Facebook and Twitter? How do you like using those apps. in relation to your work?

I am not really good at posting and tweeting, I have to keep reminding myself to be social. I find it especially hard to do while I am working but I guess posting and tweeting is working, just the marketing side of work (I prefer the creative side of work).

 7) You talk on your website about your love of children’s books. What are some of your favourite books?

Oh, that would be a long list! Currently “Dear Mr. Blueberry” written and illustrated by Simon James, the “Gerald and Piggie” series written and illustrated by Mo Willems, “The Adventures of Beekle: The Unimaginary Friend”  written and illustrated by Dan Santat, and “The Day the Crayons Quit” written by Drew Daywalt and illustrated by Oliver Jeffers are read on a continues loop in our household.

8) Have you given any thought into creating another book? If yes, are there details you care to share about it?

I am working on a second book with Owlkids Books. It is about making friends something I had a really hard time doing when I was a kid because I was shy and didn’t have confidence. The launch date is set for Spring 2018.

9) Your biographies list you as living in Toronto? How do you like living there? Are there items in Toronto that inspire you as an illustrator?

Toronto is so vibrant! There is so much diversity, culture, arts that something is always happening all year long. It is hard not to be inspired when there is so much going on. For inspiration I usually head to my favorite bookstores like Mabel’s Fables, Little Island Comics, or I just visit my local library. There are also great book festivals throughout the year, my favorite is the Toronto Comic Arts Festival. The organizers do an amazing job every year, it just gets bigger and bigger and the list of featured guests is stellar, so much inspiration under one roof and it is free to attend.

*****

Link to Thao Lam’s website

Link to Owlkids website for “Skunk On A String”

Link to my review of “Skunk On A String”

 

“I grew up in an old church and the windows in my room were green bubble glass. The light would change so dramatically throughout the day. I loved that. I guess that is why I work with light.” | Q&A with Illustrator Elly MacKay

I purchased a copy of Maya at the 2016 Toronto Word on the Street festival

maya

We tend to think of illustration as something involving lines drawn on a piece of paper. But in the case of Elly MacKay’s work, there is something a lot more. She works with light, paper and photography, which creates images that draws anyone in. MacKay recently illustrated the book Maya (which just has become one of a favourite item of people who visit my library) and answered a few questions for me – ‘illustrating’ how she creates her works.

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1) How long did it to create the images in “Maya?” How did you get involved with the book?

 

This book took a little longer than usual. I give myself 4 months for each book I work on. This one was a new way of working. I had to consider how to show 3 different worlds. There is the real world (rooftop with Mama), the story world (stories Mama tells), and the dream world where the two come together. Within the dream world, there are many animals… tigers, elephants, peacocks and monkeys. This was the trickiest of the worlds to create. It starts out scary but through reframing her thoughts, the world becomes peaceful and playful.
I met Karen Boserma at the American Library Association. Along with publishing books for kids, Owlkids publishes Chirp, Chickadee and Owl magazine. I was telling her that my brother was on the cover of Owl back in the 80s. We had a nice chat and when a book came up that needed shadows, Karen and her team thought of my work.

2) How did you get started in illustration?

I took a couple of illustration classes in university. My professor would sometimes give me his overflow work. It was great experience. I did some logo work, editorial illustrations and made an activity book for Nova Scotian kids. I also had a neat job going through the Nova Scotia Archives, picking old lithos that would become covers for historical romance novels.
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Sample page from Maya

3) Are there any illustrators that you admire? If yes, who are they and why do you admire them?

One of my favourites is Stéphane Jorisch . His use of line is so beautiful. Eunsil Chun is another favourite. Her work is at once delicate but also strong.  Her use of
negative space is really what I love, along with her characters. (Link to her website) Julie Morestad for her whimsy and wistfulness. (Link) Isabelle Arsenault for her unique compositions and I’m just in awe of the range she has. (Link) Jon Klassen for his subtle sense of humour and gorgeous, sparse landscapes. (Link) Sydney Smith for his loose linework and muted colours. (Link) Qin Leng for the complexity of her images. Also for her joyfulness. (Link)
Gosh, I could just go on and one with 20 or more names but since I have pretty much named all Canadians here with the exception of Ensil Chun, I’ll leave it.

4) You seem to have a complex technique to the creation of your images – starting with the use of paper to the lighting right up to the photography of the whole illustration. Did it take you long to learn all those skills and bring them all together? Do you have an all-time favourite illustration that you created?

I grew up in an old church and the windows in my room were green bubble glass. The light
would change so dramatically throughout the day. I loved that. I guess that is why I work with light. I’ve always been fascinated with how light changes atmosphere. I guess we are products of our environment… I came to work with paper because my Mom, Joan Irvine wrote books on how to make pop-ups. I was always working away with paper with her or making sculptures in the basement with my potter Dad, Steve Irvine. He is also a photographer. It seems like a strange job I guess, making little things out of light, paper and photographing them but it is just the result of growing up in that home I think. I’ve been making things this way since I was 14 or so.
A favourite one? I suppose From Shore to Shore. You know those places that exist in your dreams that you return to again and again. This, and Between Tides were both created based on a dreamscape of sorts.
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From shore to shore by Elly MacKay. Illustration is a diptych (Two images that work side by side.) Images are linked from Etsy.com

5) How does the public react to your illustrations? Is there any memorable reaction to something you have created you care to share?

I always love showing the process I use to children. We make a little world together and turn out the lights. When I light the theatre, they all get so excited. I love that.

6) Do you get a chance to travel and speak about your work? If yes, is it something you enjoy doing?

Yes, I really love doing school visits and writers festivals. I have a bachelor of education that I don’t get to use, so getting a chance to work with kids is always something I really enjoy.

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The Builders by Elly MacKay. Image linked from her website

7) Are you working on anything new right now? If yes, are there details you care to share?

I am working on a book called Waltz of the Snowflakes for Running Press right now. It is a wordless picture book that celebrates the colour and life that music and dance can bring to a dreary day. It will be out in Fall 2017. (Link to Running Press’ webpage for Waltz of the Snowflakes) I am also working on one for Tundra that is built from old weather sayings. It is called Red Sky at Night.

8) You seem to have an avid presence on both Facebook and Twitter. How do you like being on those platforms in relation to you work?

I like seeing what others are working on through Twitter and Facebook. Facebook has been great for sharing and getting some feedback too.

9) Your online biography has you listed as living in Owen Sound, Ontario. How do you like living there? Are there any aspects to the Owen Sound region that particularly inspire you in your work?

It is a great place to live. We have rocky beaches, sandy beaches, hiking trails/ski trails, and waterfalls all nearby and a great community of like-minded people here. It has a concert hall that brings in bands, an art gallery, wonderful library, artist co-op and a forest school that just opened. It is also affordable to buy a home here. I feel like the spokesperson for this town… But I really do love it. And yes… This place, especially the land half an hour north of Owen Sound, where I grew up is my constant source of inspiration.

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Leaves Leave by Elly MacKay. Image linked from her website

*****

Link to Elly MacKay’s WordPress blog

Link to Elly MacKay’s website

Link to OwlKids’ webpage for “Maya”

Link to my Q&A with Maya’s author Mahak Jain -“I wanted to write about a world where animals as different as the peacock, monkey, elephant, tiger, and snake would find themselves gathered around a banyan tree. Maya’s story emerged from that dream.”

“The readers who have contacted me love Harriet almost possessively, and take a few days to forgive me for what I put her through.” | Q&A with writer Cordelia Strube

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Culture is suppose to deal with the ‘human condition’ – to take note of an element in our society and bring it forth for us to consider and discuss. But that rarely seems to happen anymore. We are bombarded with more and more items that seem to be ‘marketed’ to us and our pocket books. So when we come across an item where a person carefully crafts an item to show something about the ‘human condition’ many of us still do take time to ponder that item. And we try to share our thoughts about that item with others.

Cordelia Strube states she is a private person. In being that private person she quietly observes the world around her and then crafts her observations into works for us to consider. Her novel “On the Shores of Darkness, There is Light” certainly became a topic of conversation for my many circles these past few months.  So it not only a thrill but a bit of chance to gain some enlightenment when Strube agreed to answer a few select questions for me.

*****

1) You seem to have put quite a bit of thought into “On the Shores of Darkness, There is Light”. Was there anything specific that inspired you to write it? How long did it take to write?

I was sitting in a Tim Horton’s, people-watching through the window, and noticed a small boy with an over-sized head. He was gripping his mother’s hand as they walked, both of them ignoring the stares of passersby.  In the mother’s expression I recognized a look all too familiar to mothers a.k.a. if you hurt my child, I will kill you.  There was a grace and nobility about these two seemingly frail people, pushing courageously through their daily grind despite disability.  Once home I googled causes for skull enlargement in children and, shazam, Irwin was born.  Then I started what if-ing, which I do constantly while writing novels.  What if the sick child has a well sibling?  What love and tenderness is left for the well sibling who will always, in the eyes of the mother devoted to the sick child, get better?  How do the well and sick children feel about one another?  I wanted to reveal this complex sibling connection from both points of view, which resulted in two protagonists in a two part novel.

2) A lot of fellow readers in my circle seem to feel a certain empathy for the protagonist, Harriet, or they are very confused by her. How have you found readers’ reaction to her and her family? Are there any reactions to the book that you care to share?

The readers who have contacted me love Harriet almost possessively, and take a few days to forgive me for what I put her through.  I did not set out to write a lovable 11 year-old.  She is prickly, fierce, stubborn, determined and, in her own estimation, unlovable. This devotion from readers surprises and cheers me.  Maybe it’s because Harriet is a rebel and there’s a bit of rebel in us all.

3) Your website lists both books you have written and stage/radio plays you have produced. How do you contrast the two forms of writing (if at all). Is there one form you prefer over the other?

I love all narrative forms.  Radio plays are the toughest because you reveal everything through sound effects and dialogue.  I avoid the the voice-over device to reveal exposition, and never plug dialogue with expository writing, preferring sparse speech.  I put each line through a sieve repeatedly.  Few people talk in huge chunks, and if they do, they’re usually boring.  So it’s just me, the actors and the sound effects crew building worlds and people in listeners’ minds.
Stage plays have actors, sets, lighting and sound effects.  Many choices that are limited only by budgets.   Often the most intriguing stage plays make much from very little.
With film, a primarily visual medium, you have the added bonus of close-ups to reveal subtext.  My screenplays have considerably fewer spoken words than my radio or stage plays.
Novels know no limits.  You can build worlds, civilizations, multiple galaxies.  You can jump in and out of thoughts, introduce characters in one scene then ditch them in the next, straddle continents and time zones in a sentence. Novel writing means absolute artistic freedom.  And you have the added bonus of the reader’s unbridled imagination.  They will envision and feel things you didn’t know you were writing.  Many times readers have mentioned elements in my novels I didn’t realize were there.  Readers come to the narrative with their own histories which add colour and dimension.

4) You have a complex list of literary events in which you are partaking over the next few months. Many writers that I talk to seem to have a level of fatigue that comes over them when they do public events. Are public readings and discussions of your work something you enjoy doing? 

It depends on the crowd.  If they get it, I’m buzzed.  If they don’t, I feel crummy and regret showing up.  With On The Shores Of Darkness, There Is Light, my 10th novel, I decided to only do events that pay some form of honorarium.  I’ve never understood why authors are expected to offer their time and services for free.  This request narrows invites down and slows the pace.  Q and A is more interesting for me than readings because I get to ask questions of readers.  I never stop learning from them.  But yes, you need stamina, both mental and physical, when you’re promoting a book.  Everybody’s a critic and you better be able to suck it up.

5) This is a question I am really eager to ask you. Many writers I talk to about their presence on the internet seem to make a comment about it being something they ‘need’ to do. The only presence I can tell you have as a writer is through your website. (And your comment on your siteIn a world overrun by technology and advertising designed to make us hunger for material gain, the value of human connections cannot be measured” is very reflective of many people’s thoughts around me.) What are your thoughts in relation to the use of the internet with regard to promoting your writing? Do you get many people commenting about your books through your website? Are you avoiding social-media platforms (like Facebook and Twitter) on purpose?

 
I’m a private person.  I don’t like having my picture taken.  It takes me a long time to compose a sentence.  I don’t enjoy staring into screens of any size; don’t have a cell or a TV.  These are not social media-friendly qualities.  I have two laptops, one connected to the internet, the other remains a disconnected island for my fiction.  Briefly, when traveling, I tried a tablet and found myself checking my email accounts frequently because it was so easy.  The checking became compulsive and interfered with my thoughts, and fiction–for me–is all about allowing thoughts to wander.  
 
I’m more comfortable socializing one on one in real life, in real time, with all kinds of people in all kinds of real circumstances.  But even the word real has become unreal, hasn’t it?  Which is why I called the reality show about people who think they’re on reality shows in my novel Milosz “Reality Check”. 
 
 I want people vulnerable around me, not playing a shiny, scratch-proof role they’ve devised for themselves online. Twitter etc works wonderfully for writers who think it’s wonderful.  I’m available to readers via my website and when they take the time to contact me, I always respond, have even made real friends that way.
*****