Today at the bookstore I had the pleasure of meeting a young author named Felicia Luna Lemus. Her debut novel, published by FSG, is titled Trace Elements of Random Tea Parties. This book is about both “princess dykes” and the chicana life, a blend that could only occur in Los Angeles. She seemed almost giddy at seeing her book on the shelves, and understandably so. She is diligently at work on another novel which she foresees finishing in about five years, which is about how long the first one took. In the meantime, she is actively seeking a position teaching creative writing, which should be well within reach considering this first novel and her MFA from Cal Arts. If you want to hear more check out this review at the San Francisco Chronicle and here is a double interview with her and one of the original outlaws of queer fiction, John Rechy (City of Night is the book that made him famous), which appeared in The Advocate magazine.
The title of this post is taken from a poem called “Chicago” by Carl Sandburg. The reference is to the men of the meat-packing industry, and the nickname came to represent the burly, blue-collar mentality of the place. At least, that’s what I’ve gathered so far. Mrs. Millions and I are more or less fully relocated in Chicago. We found an apartment and we’ll be moved in by the first of the month. The apartment is located in a neighborhood called Ravenswood. It sounds like something out of Edgar Allan Poe, no? We’ve been here about a week, and we’ve spent a lot of time driving around, looking for a place to live and getting to know the city. So far, it seems like a great place. Around every corner there seems to be a row of shops, cafes and restaurants, and driving by Wrigley when a game is on is remarkable. I can see that Chicago has its own very distinct identity, and being here makes me want to read some books that are about or set in the city. Some candidates: American Pharaoh by Adam Cohen, The Devil in the White City by Erik Larson, Crossing California by Adam Langer, and The Coast of Chicago by Stuart Dybek.
As I write this my old friend Cem is nearing home after almost nine months of traveling the world. Here’s a little note he sent me about Maqroll.i dont think ive told you. i never finished the book. i have been slowly savoringthe entirety Maqroll throughout the whole of this trip. i have managed to spreadthe 700 pages out, making the book my only constant through the time zones. thiswas partly an attempt to reflect the character himself, his love for that deadfrench scribbler whose name i cannot pronounce or remember, his careful rereadingof the text. another element of my devoted fanaticism is the habit i have developed of scratchingor writing certain quotes from the book certain places ive been. most of thesequotes have been the memorable bathroom wall etchings from ‘the snow of theadmiral’, and indeed some of these quotes have been etched onto the walls of filthybathrooms. under mattresses in the most tranquil places in southern thailand. i have been trying to put them in places where travelers and english/spanishspeakers might find them, but this has been somewhat difficult at times (easternmyanmar). im sure some people have seen them already. i did not limit thequotations with actual quote marks. after all of my bags have been unpacked, i will read the last 5 pages. then thetrip is over. Welcome back Cem!
I have returned to the subject of the big televised book clubs a number of times since I started this blog nearly a year ago. I have reacted to them, at times, with shock, confusion, and dismay as when I was startled by the emergence of a new Oprah’s Book Club, an event that necessitated placing a splashy red banner bearing Oprah’s name across the cover of an American classic. Later on I would mellow out, having observed the profound (and mostly positive) effect that Oprah’s new focus on classic literature was having on America’s reading habits. And there was, of course, the piece that one time Oprah author Kaye Gibbons wrote emphasizing how important she found the club to be in getting more people to read. For most people who observe the book industry I think that the angst surrounding Oprah and the rest is dissipating, and most folks have come to realize that the good done by these clubs far outweighs the damage. A year ago it was possible to see the occasional angry screed directed against the proliferation of on air reading groups, but now, as Caryn James explains in this New York Times article, the ambivalence is waning. And, in fact, Oprah deserves a good deal of praise for both her selection of the Gabriel Garcia Marquez classic One Hundred Years of Solitude and the depth of the Book Club section of her website (which unfortunately requires you to register if you want to see it). So, the consensus seems to be that these book clubs are mostly good intellectually, but the impact of these clubs on the industry commercially cannot be overestimated. As this interesting roundup of the last ten years of bestsellers in USA Today shows, Oprah’s club has become as important as blockbuster news stories and runaway cultural fads when it comes to creating mega-bestsellers. (By the way, how about the amazing five straight “book of the year” titles for the Harry Potter Series.)
The auditions are over, according to my friends in Iowa, now that Ben Marcus – aka the “Dark Horse” – has made his visit to campus to try out for the Director job. During the workshop students noted his nervousness, which they saw as a good sign, that perhaps he’s more invested in getting this job than the other three candidates. Marcus handed out passages from published stories that complimented the stories being workshopped. Marcus also went above and beyond with his feedback on the stories, giving each one a three page, single-spaced typed response. At the reading, Marcus’ short story “Father Costume” got mixed reactions. Many were confused, but some allowed that it was beautifully written. Marcus’ craft talk appeared to get the best reception of all the craft talks. Instead of talking about literary theory, Marcus talked about how he runs a workshop and what kinds of seminars he teaches at Columbia. He talked about trying to be the ideal reader for each text in workshop, and about how he meets with students after their stories are up to help them figure out what of the numerous and diverging criticisms he/she should take to heart. When he opened the talk to questions, he was honest about the kinds of stuff he reads (from Carver to Munro to Barthelme) and the way he chooses applications. He said that often his favorite applicants at Columbia end up coming to Iowa, which proves that both programs can recognize good writing. He even passed out course descriptions of some of his seminars at Columbia, including one about how writers use language to produce emotion in the reader. Rumor mill: Marcus gets thumbs up from the poets and most of the students, but the fiction faculty isn’t so keen.So, that’s it. Hopefully, we’ll get another report when the final decision is made.Previously: Richard Bausch, Lan Samantha Chang, Jim Shepard
Last week I posted about the Gather.com contest to get into Amazon Shorts, and yesterday I got a note about another opportunity for writers that sounds interesting. This one is from the very cool online literary magazine Narrative:For any of you who may have overlooked the Editors’ Note in our most recent issue, we’re writing to let you know that we are looking for short short stories. In conjunction with Robert Shapard and James Thomas, who edit the popular anthologies Sudden Fiction and Flash Fiction, we’re planning a feature in Narrative to coincide with the publication of New Sudden Fiction, which will be forthcoming from Norton in January 2007. Our feature will present a collection of short short stories by both well-known and newer writers, and we’re inviting submissions of stories that run between seven hundred and fifty and two thousand words, or no less than three and no more than five pages in manuscript length.Concurrently, Narrative is also seeking book-length manuscripts for serialization in the magazine. The details are available on their Submission Guidelines page (You’ll need to register before you can see this page).There’s also a catch – isn’t there always? – Narrative charges a reading fee: $5 for the short shorts and $30 for book-length works. Not being particularly well-versed in the world of literary magazines, I don’t know how prevalent such fees are (feel free to enlighten me on this one), but for what it’s worth, my understanding is that Narrative uses such fees to pay contributors, fund a prize, and make the magazine free for all.