If I'm gonna tell a real story, I'm gonna start with my name. —Kendrick Lamar 1. Not unlike George Herbert Walker Bush, my full legal name, as it reads on my birth certificate, has four pieces, not the usual three. Marie Myung-Ok Grace Lee. People assume Myung-Ok is my middle name. But it's just my name, one that was benched, like a junior varsity player, for my entire childhood, and then revived--but not for the reasons one might think--when I needed an "author name" for my novel. When my parents came to the U.S. from Korea in 1953, one of the first things they did was choose "American" names. Grace for my mother; my father loved William, partly for its Will-I-Am, Seussian pun. He never understood why people subsequently shortened it to "Bill," which kind of ruined everything. Being a Korean War refugee/Korean immigrant in the 1950s was a rare thing, given the racist U.S. immigration laws that barred Asians. Pivotal to their new American life was a doctor with the World Health Organization, whom my father worked with at a liaison office during the Korean War. His name was Leonard Schuman, his wife was Marie, which is how my brother came to be Leonard and then I, following, am Marie. My first big publication was an essay in Seventeen when I was still in high school. I don't remember being asked or consciously choosing how my name would appear, and it is listed simply as Marie Lee. But for subsequent publications, including a slew of young adult novels, I asked to use Marie G. Lee to include my mother (even though "Lee" is a surname for both parents). I now teach in college, to students who grew up with my novels, and I'm always touched to hear about what they mean to young readers. However, the first time an actual young reader came up to me and said, "You're Marie G. Lee," which I heard as MarieGEE Lee," I wondered who this MarieGEE she was so enthusiastically searching for was, and almost turned around to look before I realized she meant me. Being called by this name felt as weird as referring to myself in the third person. I had an eerie sensation of the person I was to the reader—Marie G. Lee—separating from the person I was to myself. Marie G. Lee was an entity, while I was a person. Appropriately, I then put Marie G. Lee as my name on my boilerplate speaking contracts and soon noticed that I, Marie, was a better advocate for this Marie G. Lee when it came to negotiating speaking fees; I didn't take it as personally. There is a business side to writing, and she was it. 2. In my 30s, I went to Korea for a year as a Fulbright Fellow to research my next novel. I'd barely passed the oral language test and so my fellowship was contingent on taking language classes, since my project involved taking oral histories of Korean birth mothers. In class, I started out using my name, Marie, because, well, it's my name. The only other time I'd had a situational name was in my years of high school German, when my name was Beate. But soon enough I noticed "Marie" would either be transliterated as "Mari," which is a place-holder for counting animals, or, what my relatives cheekily used: "Mori," which means "head." The white people in my university Korean class adopted Korean names and wore them proudly, like a costume, so I decided I'd might as well put my official but never-used name to use. For our Fulbright business cards, the clerk asked for the Chinese-based characters underlying my Korean name. "Lee" means plum tree. Myung means brilliant, Ok means jade/crystal. There was something about writing out the pictographs that made me think about how my father would, throughout my childhood, always indulge me by taking me to the rock and crystal show whenever it came to our town. How he was always so convinced I was "brilliant" enough to be a doctor. How "Marie" was an homage to another person while my Korean name was not only a kind of aspiration and hope my parents had (and weirdly personified in my obsession with clear quartz crystals), the "Ok" was also a generational marker that linked me not only with my sibling (Michelle/Chung-Ok), but with my distant cousin, Soon-Ok, whom I'd only met now, as an adult. We were strangers, but the "Ok" always reminded me of our shared generation in the Lee family tree, that the relationship ruptured by immigration still endured via our linked names. 3. Leaving Korea, I also left Myung-Ok behind. Nobody in America called me that. I became Marie again and didn't think about it until, ironically, my Fulbright novel—many years later—was acquired by a publisher. Ever since I'd started publishing, I'd had a sporadic problem of another Marie Lee, a white writer whose Cape Cod Skull Mystery series was quite popular, judging from the fan mail she received, i.e., the fan mail I received. Once, I even mistakenly had one of her royalty statements appear in my mail, which made me wonder if the same thing was happening to her. My agent promptly rooted out the problem—Books in Print, the bible of booksellers, had the IBSNs of two of our books switched. This was also in the pre-digital era, so the mistake would remain until a new edition came out. [millions_ad] My new publisher suggested going forward I use as an author name something beyond Marie Lee and MarieGEE Lee. We agreed Marie Myung-Ok Lee would really differentiate me from the other writer. That was in 2005, and I have been using Marie Myung-Ok Lee for my "writing" name all this time. There was some question about "consistency," since I'd used Marie G. Lee as a published name for years, but I decided not to worry about it—I could always go back to MarieGEE, later, but Marie Myung-Ok got some immediate results: First, I stopped receiving Cape Cod Skull Mystery fan mail. But I also realized that just looking at my name, and hearing it, even when people pronounced it incorrectly (Myunk-ok, Myung-O.K., Mee-Yung, etc.) it felt like me, a separation but also an integration in a way I'd never had when I was MarieGEE Lee. Writers obviously know the power of words, and how naming something sets it on a certain path. Mine was inadvertent, but other writers have named themselves with more intention. Poet Leslie McGrath (Feminists Are Passing from Our Lives) says, "My married name is Taylor and that's 'family' persona, but my writer's name is McGrath, which was my grandmother's maiden name. She grew up poor and Irish, never made it beyond high school, and always wanted to write. Each poem and book I publish is a tribute to her." "As a hapa [half-Asian], it was hugely important for me to be Karl Taro Greenfeld (True) instead of Karl Greenfeld. The latter made me sound like another male Jewish writer, nothing wrong with that but also not who I am. But, strangely enough, it was a magazine editor who decided to put my middle name on a story I'd written about Japan. I was 25 and hadn't thought of doing it myself. As soon as I saw it in print, I knew it would be my byline. Margaret Elizabeth Mitchell (Pretty Is)—not that Margaret Mitchell—says, "I write as Maggie. I do it partly because of Gone with the Wind and partly because I like creating a bit of distance between my selves and my lives. That’s always appealed to me—I used to invent pseudonyms as a little girl, most of them horrible...." Those who make it up as they go in life and writing find both good and bad in not having a consistent author name. Novelist Randy Susan Meyers (Widow of Wall Street) calls her evolving names, some of them imposed, her bête noire. "I publish under my given name—using my middle name so folks know that I'm a woman. In the U.K. they made me be R.S. Meyers. Legally, I go by my husband's name. Yet in some places, I am known by my long-ago first husband's name. "When I am in a store and they ask my name, I always pause...I wish I'd never taken either husband's name. But...there are times it's great to choose who I want to be when." Myung-Ok is my first name and so I also enjoy, when filling out fellowship forms, cramming Myung-Ok next to Marie, because that's where it belongs. Occasionally I'm asked to put it in the slot for "middle name," but I always refuse: it's not my middle name. And as the American-born daughter of immigrants, why should I have to bend to the form? Since the racist laws were changed in 1965, there are more and more Asian immigrants and their children also with compound first names. We are Americans. The form should change for us. And while author's names need to be individual, and distinctive, the way my generational name connects me to my sister, Chung-Ok, and my cousin Soon-Ok, so, too, I enjoy a connection with other Korean American writers like Nora Okja Keller (Fox Girl) and R.O. (Okyong) Kwon (The Incendiaries), something MarieGEE didn't do. Perhaps the author name is also a brilliant tool that should be used as such. Friends and family call me Marie, and Koreans revert to Myung-Ok—but no one uses both. Marie Myung-Ok Lee then becomes the embodiment of my writing, a protective shell that diverts the attention from that overly open, curious part of me that I need to be able to write in the first place. I'm not talking about being fake with an alias, I am talking about being able to engage with people who've read my writing, and therefore have a their own relationship with "me," which can indeed be startlingly intimate, but a different kind of intimate than in the relationships I have with the people I am close to in my life. But names can evolve and change. We will see. Image Credit: Pixabay.
What is this late capitalism we keep hearing about? As a pop culture term, it refers to capitalism run amok with its drive for profits over everything (e.g., the United passenger who was beat up and dragged off the plane so the company's employees could fly). It's a term often used by Marxist economists (also called Monopoly Capitalism or Late-Stage Capitalism), suggesting the unsustainable nature of purely instrumentalist market-based societies, where success means cutting costs and expanding production in a process that results in constant capital accumulation by the owners of the means of production. If you've ever read The Lorax, you get the idea. Players (1977) by Don DeLillo I am continually astonished that this novel is from 1977, and that it's not considered one of DeLillo's masterworks. It's a tone poem involving disaffected elites in New York, a shooting on the floor of the stock exchange, terrorism, and an Occupy Wall Street-type protest. It's one of the most contemporary (i.e., superbly prescient) depictions of the underlying anxiety of rapacious capitalism—we worship and receive its word as if fixed from a bible, but on some level we know it is neither morally neutral or sustainable. Who Cooked Adam Smith’s Dinner? (2016) by Katrine Marçal I wrote my undergraduate honors thesis in economics on "Economic Development and Women's Labor Force Participation," and concluded that in developed versus under-developed countries, the end game was the same: women did most of the work, including the never-off labor that does not get counted in traditional economic measures. Additionally, the financial penalties of this unpaid work (family stress, "mommy track" drag on careers, unequal pay due to gender discrimination, etc.), don't factor into our economic world view because the variables that are "important" in economic models have been mostly decided by men. Marçal does a brilliant job making economics accessible and shows the egregious mistake of excluding women from basic economic market principles, and how this invisibility reinforces inequality. Capital in the Twenty-First Century (2014) by Thomas Piketty: If you want a meaty yet general-read-friendly book to help explain the severe and growing income inequality in the U.S. (and around the world), economist Thomas Piketty's book is the one for you. It's a decade-long exploration (via painstakingly reverse-engineered tax data) of how, in the current industrialized world, rich people work less and earn more because their wealth (real estate, stocks, inheritance, tax breaks) works for them, while poorer people who depend on income—i.e., working at a wage job—desperately scramble to make ends meet in a trickle-down economy. Don't be put off by the graphs and equations—this book is also a fascinating account of economic history from Adam Smith to Simon Kuznets to Karl Marx and beyond. Weapons of Math Destruction (2016) by Cathy O'Neil O'Neil has worked both as an academic and as a quant for a hedge fund, which puts her in a unique position to investigate how computer algorithms (many of them secret and proprietary) and "big data" are part of a new, non-human way to evaluate things like public school teacher performance and hiring prospects. Many of these algorithms, she contends, are based on "poisonous assumptions," and—surprise, surprise—in aggregate mostly affect and penalize the poor, who have to face the faceless numbers with little recourse, while the rich use their cronyism, nepotism, and old-boy networks to get ahead—all the while pretending American economic life is a meritocracy. Landscape with Invisible Hand (2017) by M.T. Anderson: For younger readers, Anderson—who brought us the amazingly prescient 2012 YA novel Feed, where young people meet by connecting directly to the Internet via their brains—now references Adam Smith's "invisible hand" in a techno-future dominated by aliens. This book includes alien nostalgia and misreading of the American 1950s style of dating, and diarrhea pratfalls, and it tackles Piketty-esque inequality: Almost no one had work since the vuvv came. They promised us tech that would heal all disease and would do all out work for us, but of course no one thought about the fact that all that tech would be owned by someone and would be behind a paywall. Image Credit: Wikimedia Commons.
It's the waning days of summer, you've got your towel, your beach read, your canned rosé in an insulated Angry Birds lunchbox you stole from your child. But the question remains: where to set up camp? Beaches are getting awful crowded these days, and "beach-spreading" is on the rise; writer Amy Rosenberg of the Philadelphia Inquirer reports that the canopy-and-BBQ-grill-wielding beach spreaders' main victims are the "towel-and-a-book minimalists" (her delightful coinage). Thus, while trying to avoid the point end of someone else's beach umbrella, you may be jonesing for a little more undisturbed quiet. What can you do if you aren’t New Jersey Governor Chris Christie, who famously closed all the state beaches on the beachiest of beach weekends, July 4, citing budget problems, and was subsequently photographed enjoying a beautiful state beach, Gilligan's Island-style, with just sand, surf, and his nuclear family. But just as no man is an island, no beach is totally "owned" by someone. Even the famous stars in Malibu, with their yards fronting the beach, can't yell, "Get off my beach-lawn"—although they've tried. Yes, part of that beach belongs to you, Joan Q. Public. Many people don't know this, but pretty much every state has at least some version of California's Public Trust Doctrine that codifies the public's free access to the beach. California's doctrine in fact decrees that there is no such thing as a private beach. Even walking in front of, say, Jennifer Aniston's house (we assume she lives on the beach), there will still be a strip of sand that his public, and often, way more than a strip (often, owners have to grant easements—i.e., more beach!—when they do things like overbuild). I'll use California's beaches as an example because they are plentiful and because it's an income inequality issue: Los Angeles, land of the outdoors, ranks a pitiable number 74 (behind Reno Nevada!) for access to public park space. Compare that to New York City—-skyscraper town—where I live, which comes in at number seven. So what precious public park space there is, is mostly THE BEACH. Yet many wealthy homeowners in coastal areas (but particularly wealthy areas like Malibu) actively want to mislead you into thinking you're the one trespassing by deploying things like NO TRESPASSING and NO PARKING signs, posting intimidating guards and co-opting local police. I remember doing a writers’ residency where a walk along the seashore was a welcome way to end the day. But one day when I came around a bend that was usually underwater during high tide, I was surprised to see a guard. She told me I wasn't allowed to walk any further. There was also a huge sign saying the beach belonged to a ranch. This was not true, I know now. In that state, the beach was public up to the high tide line, and so at low tide, there was a nice piece of beach for me to read on. Even if I hadn't been aware of these laws, "wet sand" is almost always considered public beach. Most people are like me and don't know that there's a lot of beach out there, waiting for your towel and book. Thanks to organizations like LA Urban Rangers, who lead urban "safaris" and otherwise help educate the public about their rights of access, the tide is turning, so to speak, and the public is learning what they have been missing—or been illegally shooed away from—for years or decades. Most recently, this guy, a billionaire, just lost his case trying to keep one of the prettiest beaches in Northern California all to himself when he didn't even live on the property. So how to you figure out what's what? WET SAND: "is generally considered public land and the state holds it in 'trust' for the public benefit," according to Angela Howe, Legal Director of the Surfrider Foundation. After that, it's a specific state issue. You can check out Beachapedia for the laws in your particular coastal state. Similar to wet sand, you will most likely be on a public beach if you pack your book and towel into a boat, a kayak, or a Huck Finn-type raft. According to Ms. Romans: If you arrive at a beach via boat or from the ocean side, you are staying within the public trust lands. Basically, before you go, brush up on your state's laws. Know your rights, but (a) keep in mind that even being right doesn't always win you the day; and (b) there've also been situations where the guards will call the police who will then show up and be unfamiliar with terms like "mean high tide line" and "public access." Some beaches even have an app that can help you with access (and will have official documents you can show the guards/cops), e.g., Our Malibu Beaches, which comes with both iOS and Android versions. There is also the YourCoast App that the California Coastal Commission created, and a print California Coastal Access Guide. Okay: beach read, check; towel, check; rosé, check. But what if you feel bad lounging and reading on the beach in front of some billionaire's house while his wide-eyed family stares at you? Well consider, besides the fact that people like David Geffen had promised to build a public access path to the Malibu beach next to his property in return for a remodeling permit—back in 1983!—and instead he has been spending all this time trying to keep people from lawfully accessing what has been acerbically known as "Billionaire's Beach." Spending money keeping people from a public beach is a particular crime in an urban area that has such little access to public green space—this small loss of privacy is a well compensated tradeoff for the loveliness and the guarantee of non-development that accrues to one lucky (and rich) enough to live in a house that abuts a public park. Can you imagine if rich New Yorkers tried to block access to Central Park with boulders (yes, someone did that to hide a beach access point) or complained about the noise from Shakespeare in the Park? In Florida, when the state deposited tons of new sand on eroding shorelines, they declared this new, replenished land government property, and therefore public. It makes sense; we all have to share the consequences of our climate-change and rising sea levels, why not enjoy the beaches that our taxes pay to shore up? It’s your beach, people. Grab your book and get beach-reading. Image Credit: Flickr/Anne Adrian.
I'd like to present to you a semi-regular column: Books & Mortar! Which will look at the fabulous world of tucked-away independent bookstores, a pulsating nationwide constellation of literary delights that, heaven forbid, you might walk past without knowing it's there. For instance, Key West, the southernmost point in the U.S., is the home of Jimmy Buffett, tarpon fishing, turquoise waters (and drinks), spring breakers, pirate stories, great Cuban food, and crazy-beautiful sunsets. But it also has a storied literary history, with residents including Elizabeth Bishop, Ralph Ellison, Tennessee Williams, Richard Wilbur, John Williams. It's where Wallace Stevens famously attempted to punch Ernest Hemingway at the Sloppy Joe's bar, with mixed results. And more recent writers have called Key West home: Ann Beattie, Tom McGuane, Joy Williams (also, her book The Florida Keys: A History and Guide is one of the most masterful works of travel writing that you'll ever want to read). And now it has Books & Books Key West, a locally owned independent that opened in 2016 and is also (voluntarily—haha) nonprofit. This 1,200 square foot store is housed and affiliated with The Studios of Key West, an arts and cultural organization that, among other things, runs an artists' residency. Books & Books Key West thus also carries a terrific selection of art supplies. Oh, and one of the cofounders and owners is someone you may have heard of: Judy Blume. The Millions: What was the genesis of this amazing store? Judy Blume: George [Cooper, Blume's husband] and I wanted a full service indie bookstore in Key West. When we came to town 20 years ago there were five bookstores. Four years ago we were down to one used store. We tried to get Mitchell Kaplan of Books & Books, the great Miami area bookseller, to open a store in Key West. He wanted to but ultimately he couldn't make the numbers work. Rents in Key West are very high and we're more than three hours by car from Miami. Finally, Mitch said, "If you and George can find a way to make it work I'll be there for you." George is on the board of The Studios of Key West, a non-profit arts center who had just renovated a beautiful art deco building in Old Town with a 1200 square foot corner storefront. The perfect place for a non-profit indie bookstore! We (George) convinced the board of the Studios it was worth a shot. Everything happened so fast it feels like a dream when I look back. We opened in February 2016. I laugh now at how little we knew about running a bookstore. We learned on the job. We're affiliated with Mitch's stores but we're non-profit and financially independent. We call Mitch's Coral Gable store our "Mothership." They do our buying (though we can order or reject any books we want.) They set up our store with handsome refurbished fixtures from one of their stores. Their staff came down for two weeks to set us up with our initial order and to train our staff, including George and me (we have three paid employees now) and our volunteers. During "season" our volunteers are especially important to us. They are great readers. One knows poetry. One worked in a bookshop in London. I miss them terribly when they leave for their summer homes but we are so lucky to have our three hardworking, loyal, friendly, fun employees. Our first season, George and I worked seven days. This past season we were able to take two days off a week, and we're thinking of working four days a week next season. TM: Does your bookstore have a mascot? A bookstore cat? JB: The idea of having a bookstore cat is appealing but because we're on a busy corner we're concerned about any animal—cat or dog—running out into the street. One day, when we first opened, a hen came into the store. Chickens are protected in Key West and roam freely around town. We stayed calm, though we were thinking, OMG, if that chicken gets scared and starts flying around she's going to poop on our books! Lucky for us, she wandered around, then with some gentle urging, walked out the way she walked in. Maybe she was looking for a good book? We leave our door open in nice weather. Customers bring in their own dogs. We keep a water bowl outside and treats by the register. This works best when it's one dog at a time. Usually they ask if it's okay and usually we say yes (if it's a nice dog). So far only one has peed on our floor and the customer, a tourist, walked out before we knew it. Good our floor is concrete. TM: What's the most surprising thing you have found about being a bookseller? JB: How much there is to learn, how hard you work every day, not just with customers but in the back room. The number of boxes that arrive weekly is staggering. We see our UPS delivery guys almost every day. Receiving new books and returning others (I had to learn to be tough because, as a writer, I never want to return books) takes us a huge amount of time. One of our two managers is always on that. Then there's keeping up with the dusting. Everyone is expected to dust. If we had a cat, I'd give her a cloth, too. The time flies by. I usually go home exhausted but very happy and can't wait to go back again the next day. TM: You and your husband George are co-founders. How do you divide up the duties? JB: I'm on the floor, chatting with customers, helping them find the right books, even working the register (not my strong point but I'm very proud of what I've learned to do). Every day I "pet" the books, move them around, change the window displays. Tuesdays are "new book" days. That's when I get to put out the books that are date-sensitive, which means moving around all the books on the new and notable table. George is in the office most of the time. He's our CFO, making sure it's all going well. And so, far, fingers crossed, it's been a success. TM: Authors are beginning to open up bookstores all over the place: Louise Erdrich in Minneapolis, Ann Patchett in Nashville. Larry McMurtry is a long-time bookstore proprietor. Do you think you're part of a trend? JB: I didn't know about all the authors opening bookstores when we started, but it's good news! TM: What's a day in the life of Judy Blume, bookseller like? JB: Rush, rush, rush—to get to the store. We're open 10 to six, seven days a week. I ride my bike unless it's rainy. Tuesdays and Thursdays I come directly from the gym. When we opened the store, we thought our customers would be 75 percent locals and snowbirds, and 25 percent tourists. In fact, it's about 80 percent tourists and 20 percent locals. The tourists have been great. They sometimes buy a stack of books and send them home. They ask for restaurant recommendations. And they're always—always—thrilled to be in Key West. Of course we love our locals, too. So there's a lot of chatting about books, Key West, and whatever else is on their minds. By the end of the day I'm exhausted (or did I say that already?). All I want is to eat dinner and go to bed. TM: Do people freak out when they find out the lovely woman who just hand-sold them a novel is the beloved Judy Blume? JB: Yesterday a couple came in and George and I were chatting with them about their used bookstore in another Florida city. George (that devil) asked if they carried Judy Blume books and before I could stop them from answering, always afraid they'll say something like—I would never carry those books!—she said "Oh yes, a lot." At which point I said, "I'm Judy"—and she was so taken aback I was worried she might faint. But all ended well. In the beginning, before there was so much publicity, people did freak out. Once I had to prove who I was by showing the customer my photo on the back of In the Unlikely Event. She studied it, studied me (I admit I was having a bad hair day and I'm often red-eyed and itchy nosed from something—the books, the dust, the building? It was clear she didn't believe me and I was sorry I'd gotten into the conversation in the first place. Now, people come in because they've heard it's my store. The trolleys, the tour buses, the concierges at the hotels, all let them know about Books & Books @ the Studios. And we're grateful. George and I joke that I'm the Southernmost (everything in Key West is the "southernmost") Shamu. You know, have your photo taken with Shamu (remember the whale, the one time star of Sea World?) Because we're a non-profit, I don't do photos unless the customer is actually buying something. It doesn't have to be my book but it has to be something. People have been very understanding. Still, it embarrasses me to have to tell a customer our rules. TM: What's the best kind of bookstore customer? JB: Anyone who's friendly, loves to read, and finds a book or three to buy. Or maybe it's a young person who says she doesn't like to read who leaves the store with her nose in a book. TM: The worst? JB: Let's say the most challenging. That would be a customer who wants a certain book but can't think of the title or the author's name. The cover is blue, or has a spot of blue, or maybe the type is in blue. She/he will think it's new, will remember seeing it on our table last week, but it could have been she/he has just read about it. We'll go around together looking at all the places that book might be. Sometimes we'll actually find it. Hallelujah! TM: What book do you want to tell the world about right now? JB: Right now it's What to Do About the Solomons, by Bethany Ball, a first novel I loved. It's funny, sexy, and original. I'm also talking up Edgar and Lucy, by Victor Lodato. Emily (one of our managers) and I both loved it. And, of course, my favorite book of the year, The Nix, by Nathan Hill. You don't want to miss this debut novel. George agrees. TM: Are there other staff who are also writers? JB: George has published two non-fiction books, both based on historical crimes. He's a big help when someone wants a non-fiction book on a certain subject. That's because he's a reader. It's more important to have staff who know and love books than staff who writes them. TM: One of the great things about a bricks-and-mortar store is not only the individualized book picks, but also the author events. What were some of the fun ones this year? JB: We had our first big events between January and April this year. Jami Attenberg, Kay Redfield Jamison, Paul Auster and Siri Hustvedt. We had kids' authors Meg Cabot and Rachel Vail. Since summer is our slow season we won't have any more events until next fall/winter. TM: What's a favorite bookstore—NOT YOUR OWN? JB: We visit bookstores wherever we go these days. In Santa Fe we're fans of Collected Works. But, of course, our absolute favorite is Books & Books in Coral Gables. And their food (they have a cafe) is scrumptious!
My earlier post was about artist residencies, these magical places that take the writer out of her workaday world and into a new place, just for the artist. No need to let answering the phone or procuring and cooking food slowly chip away at one's day. Because it's expensive to house and nurture artists, many residencies need public funding, which will be in danger for the next four years. In case Donald Trump cuts off all public funding for the arts, here are my tongue-in-cheek favorite alternative, quasi-publicly-funded residencies: The Airport Residency Airplanes, with their engine-whines and the threat of the seat recline crushing your laptop, aren't great spaces to work. But once, when I was stuck in an airport for a few days (ironically, on the way to a residency), I had the time to realize how delicious it was to be the still point in a hub of transit. Everyone was so focused on their destination, I was as anonymous and private as if I were in a cabin out in the woods. There was plenty of food, comfortable chairs, even a branch of the Tattered Cover bookstore. Had I wanted it, legal pot was just a cab ride away. The Volunteer House in Riverside Park Residency I don't actually know how to get into this house, but it's a quiet little hut that overlooks Riverside Park in New York city (which is much quieter than Central Park). And every time I pass this house, it looks so reminiscent of the studios I've been in, say, at Yaddo. The place looks like it gets plenty of sun and there's an Ecuadorian food cart just a few hundred feet away; in the spring summer and fall there's a bar/ restaurant that operates inside the park. Perfect! Vermont Rest Stop Residency I couldn't have been more charmed by this rest stop, a wood stove, a solarium with its plant powered waste-treatment plant. There were desks and a view, as well as unlimited coffee, and, I was told, sometimes they provided Twizzlers. Who doesn't like a little Vermont socialism? My Home Office Residency I actually have a nice little office, by New York City apartment standards. Faces a quiet street, expansive desk. Now, if I could just get my spouse to take a break from being a professor and devote his day to making meals that he can tuck into a picnic basket, we'd be in business. What are your fantasy residencies? Image Credit: Flickr/Miel Books
I recently wrote a piece defending the National Endowment for the Arts, a grantmaking organization that represents .001 percent of the U.S. annual budget but is somehow such a drag on the economy that it is now very publicly on the chopping block (along with sister agencies, the National Endowment for the Humanities and the Corporation for Public Broadcasting) for the federal 2017 budget. This move makes perfect sense for Donald Trump the businessman, according to GOP enablers, because if the arts and so-called free expression are so worthy, the private sector will step in and fund them. As if on cue into my in-box comes the news that the very temple of capitalism, The Mall of America, is initiating a Writer-in-Residence program, giving "a special scribe the chance to spend five days deeply immersed in the Mall atmosphere" along with an honorarium, food stipend, and housing. Residencies for artists to create art isn't a new idea. But this is the first time I've seen one that has been offered by a corporation (MOA Holdings, LLC). Normally, residencies are funded by a combination of public funding and private donors and foundations that support the arts. The nation's oldest residency program is the MacDowell Colony, founded in the early 1900s by composer Edward MacDowell, who noted to his wife, a pianist, that in their summer location on their bucolic farm in New Hampshire, he produced better -- and more -- music. The MacDowell Colony was born out of the desire to share this experience, and various artists, including writers, visual artists, composers, and choreographers from all over the world travel to Peterborough, N.H., to sleep in communal quarters, eat wonderful food, and work without distraction in a studio out in the woods. Work that has come out of this one place has shaped the American cultural landscape -- e.g., Thornton Wilder wrote Our Town there; over the years, the Colony has dispensed this gift of time and creativity to artists as varied as James Baldwin, Aaron Copland, and Meredith Monk. This gift is made possible in part by public funding from the National Endowment for the Arts. When I was starting out as a young fiction writer, the advice I received most often from mentors and editors even before I started getting published regularly was to do a residency. I was working on Wall Street to support myself (so I could live alone in New York City -- and write), and attending artist residencies were some of the first opportunities I had to meet other artists. When I'm lucky enough to get an artist's residency, as soon as I'm on the grounds, I enter into what I consider a sacred state: an intentional community detached from the outside world, where signal can finally be separated more easily from noise. This paradise for the mind is also free or minimal cost, they sometimes come with stipends for lost wages. One favorite, the Virginia Center for the Creative Arts, received an NEA grant for Collateral Reparations, which funds a residency scholarship for a veteran. These residencies are purposeful in their locations; one of them buries its power lines to eliminate visual clutter, another one is in the stunning landscape of Wyoming. The last residency I did, at the Mesa Refuge in coastal California, the sky, devoid of the usual light pollution, had so many stars it was startling; the impressive dark was initially alien -- then inspiring -- to this city-dweller. The basic artist residency is a studio, a place to sleep, and food. Composers' studios, for instance, have pianos (Steinways at one) that are carefully and professionally tuned. Visual artists studios have huge blank walls. Writers' studios tend to be monk-like in their simplicity: desks, a bed for napping. Ample space to spread out chapters, to group poems. One studio had a wall made of corkboard that looked like a starry sky, punctured infinite times by all the writers who'd been through, pinning up their notes. There are no ringing phones, no drop-ins. Often, no Internet. It's in this quiet that dreams swim to the surface more readily, and I am there waiting to write them down, instead of my usual: making mental grocery shopping lists, scheduling appointments, watching the clock. When I saw the ad promoting a residency at the Mall of America, my first impulse was "I must apply!" See, a bunch of scenes in my novel take place in the freaking Mall of America! It had a nice honorarium ($2,500) for 5 days in residence at a connected mall hotel, plus a $400 food stipend, which is a lot of Cinnabons. But a quick look at the terms reveals the horrifying things the artist gives up in the for-profit residency: her art. Regimented by corporate decree, instead of a studio in the woods, "Workspace will be located in a common area space within Mall of America." You basically clock in: "The core daily work hours will be 11:00am to 7:00pm." And, like being a busy-bee warehouse worker at Amazon.com where bathroom breaks are monitored for frequency and efficiency: "While the Winner will be encouraged to take breaks from writing to explore the Mall, post on social media, eat and find inspiration, the Winner will need to be physically present at the writer’s desk for no fewer than four (4) hours per day." Prime one-day shipping waits for no one -- why should art? Inwardlooking-ness, contemplation, stillness has never been a friend to corporations, so: "The Winner’s ongoing work may be displayed in almost-real time on a large monitor at the workspace. The work product may scroll continuously throughout the day for passersby to view." When a business takes over, the artist residency basically becomes its opposite. The protected space of creation becomes a publicity stunt for consumer entertainment. I noted the Mall of America's Writer-in-Residence announcement was a PR release touted as an "event," wedged in the website, not even meriting a place as a "Feature Event" like "Clash of the Super Beers" and "Toddler Tuesday." What we have here, when for-profit private interests take over, is not an artist residency, but a propaganda-PR content factory (indeed, the content must "be approved by a Mall of America Marketing representative" to not be "contradictory to the Mall of America’s desired presentation of the Mall"). But even more worrisome is the idea of corporate ownership of an artist's work: the writer "unconditionally agrees that Sponsor shall be the exclusive owner of all right, title, and interest in and to any and all work product, materials, and content produced by Winner during the MOA Writer-in-Residence." I'm not saying art cannot be created by the private sector. But I am saying that it's unlikely, given these terms -- of the work and of the ownership -- that few artists I know would consider such a risk. And it's not as if there isn't a history of artists producing works for pay: during the Depression, a full 7 percent of the Works Progress Administration's budget was given over to art, as the head of the WPA acknowledged that artists needed economic relief from the devastation of 1929, like any other workers. Through the arts, music, theatre, and writers projects, Post Offices were decorated, plays were written. The Federal Writers project created the well-known American Guide series to the states. Some of the 20th century's greatest abstract painters, such as Lee Krasner, Jackson Pollock, and Mark Rothko, were kept afloat during the Depression by their employment creating realistic figurative murals for the government. For Willem de Kooning, WPA funding made it possible for the first time for him to concentrate fully on fine art instead of having to do commercial painting. Do we want a small number of taxpayer dollars -- roughly 45 cents per person -- helping fund the next wave of important artists? Put another way: should corporations provide us with "work product" -- clever, enjoyable, and effective ads for capitalism? Or do we want art off the workaday clock, art that's been allowed to effloresce into all its beautiful, strange, and disturbing forms? Put another way: do we want work that explores the void, or do we want "Void where prohibited? Image Credit: Flickr/Cliff.
With the news of Simon & Schuster's conservative Threshold imprint acquiring -- via $250,000 advance -- a memoir by "that person" (whom I'm declining to name, or even describe, because why give him more free publicity?), the outcry was swift, accusing Simon & Schuster of cynically capitalizing on and rewarding hate speech and normalizing white supremacy. I don't disagree with those sentiments, but I didn't jump into the fray because, quite honestly, I didn't know how I felt. There are a lot of issues at play: hate, misogyny, capitalism (i.e., publishing as a business), coexisting with my reality as a writer fortunate enough to have a supportive publisher. And that publisher is Simon & Schuster. I had an 800-page manuscript that I had taken 10 years to finish; literary fiction is never a clear moneymaker, long novels are problematic from, if anything, a production point of view (all that paper, all that ink, the increased shipping costs), and yet my editor took me on for a nice five, not six-figure, advance. Even better, she had also just taken on a prizewinning Korean American author whom I admired, whose first book had also come out with an independent press. My editing process at Beacon Press was fairly straightforward because the novel was ready to go. With the current novel, there are structural issues, and a team of editors have rolled up their sleeves, put the tome on a metaphorical lift, and gotten just as sweaty and dirty tinkering with its guts as I have. I'm relieved that, even as the years slide by, they talk only about getting the book right, rather than pushing out "product." In short, I'm living a dream I'd had as a child banging out stories on my hand-me-down typewriter and selling them -- to my parents. Like many, I was horrified that a person who Twitter had deemed so odious/dangerous it banned him from the platform was being given another platform, a paid one, in short order. Protest is often the only way to get a company's attention. And it can have results. But it's not always the results that were intended, or wanted. For instance, after the outcry over the "sadistic contents" of Bret Easton Ellis's American Psycho, three months before the book's publication, it was dropped by the publishing house....Simon & Schuster. CEO Richard Snyder explained, "It was an error of judgment to put our name on a book of such questionable taste." But the book was just as quickly picked up by esteemed editor Sonny Mehta and published by Random House's prestigious Vintage imprint. Irrespective of the nature and quality of these two books, it's instructive to examine these unintended consequences. Books are indeed published by corporations, which need to sell to stay in business. But as much was we like to treat books as "widgets," they aren't interchangeable goods or services. Each one is written by an author or co-author. In an overcrowded publishing market, bad attention can be just as valuable, perhaps more so, as good attention. The brouhaha over American Psycho certainly branded it into America's cultural consciousness; the book is still robustly with us, it recently turned 25 and just appeared on Broadway as a musical (!), i.e., trying to kill it with bad publicity may have done exactly the opposite. The second thing to consider is unintended collateral damage. Many people objected to the content of Fifty Shades of Grey, but it not only helped keep Random House (now Penguin Random House) in the black, it brought in so much revenue that every employee, from “top editors to warehouse workers,” received a $5,000 bonus. So what's the opposite of a rising tide? When I heard the calls to boycott Simon & Schuster, that reviewers were going to refuse to review, authors were vowing not to blurb S&S authors' books, a bookstore tweeted that it wasn't even going to stock any S&S books, I felt a bit of a chill. I had no urge to write my editors, because they had zero to do with the decision to acquire that book. Publishing firms are "houses" with huge family trees, divided into specialized groups called imprints. While imprints are not wholly autonomous, they each have their own eco-systems. I write literary fiction and publish with the Simon & Schuster imprint. Simon & Schuster also has several other general interest imprints, specialized imprints, and several children's book imprints, as well as Howard Books, which publishes for the Christian marketplace. Should its Folger Shakespeare Library imprint be penalized for an acquisition by Threshold Editions, a conservative writers' imprint (that has also published Donald Trump and bona fide war criminal Dick Cheney -- with no outcry)? The calls to boycott are continuing after Simon & Schuster (the company) has stated it intends to go ahead and publish the book in question. So what, then, is the endgame? Professor Matthew Garcia, who wrote From the Jaws of Victory: The Triumph and Tragedy of Cesar Chavez and the Farm Worker Movement and who has studied boycotts for years told me that "The boycott of S&S will be tricky. It requires a campaign and a set of goals. First, is there an organization willing to put the time in to organize and pursue the campaign the way the United Farm Workers did?" Good question. I personally feel that protecting healthcare, especially Medicaid and Medicare, is one of the most important things we need to do right now. "Second, that organization needs to do what UFW did with grapes -- identify what percentage of the product's delivery to market they need to effect in order to have S&S respond," Garcia said. "In the UFW case, they did not hit all sellers of grapes equally. They targeted the biggest sellers, and set as their goal to reduce sales by 10 percent in 10 of the top markets. They did that by knowing what amount would hurt their bottom line, and produce the biggest seller's capitulation. I imagine the organization that pursues a boycott of S&S would have to identify the same profit margins for the company and what it would take to tip them in order to identify effective goals." Books, though, aren't an undifferentiated product like grapes. There's a lot of untethered anger that's much more than about one guy, one book deal, one company. People are mad as hell (rightly so) about the rise of the so-called "alt-right" (a.k.a. white supremacists). But how do we try to harness this anger productively? Successfully boycotting S&S is not going achieve what many of us really want -- which is to boycott 2016. But if we're going to try to get Simon & Schuster (and CBS, its parent company) to listen, what books should boycotters target to get to the United Farmworkers' 10 percent threshold? Probably the big ones like...the Bruce Springsteen memoir. Anthony Doerr's Pulitzer-winning novel, All the Light We Cannot See. Maybe Shonda Rhimes's bestselling memoir, Stephen King's latest? How about Naomi Klein's This Changes Everything -- cited as one of the "Seven Books You Need to Understand (and Fight) the Age of Trump"? Even if such a boycott was successful in harming the bottom line of a publisher, how do we know in a capitalist society that the publisher wouldn't then make up the difference by publishing even worse things or being less inclined to take risks? S&S started Salaam Reads, a imprint for Muslim-themed children's books. Why not starve "that person's book" financially and publicity-wise, and instead buy two books from Salaam Reads? Bookstore owners and buyers, who are the most direct link in all of this, are starting to formulate statements and implementing plans. Kathy Crowley, co-owner of Belmont Books, a Boston-area store set to open this spring, is a writer herself, and she told me that she and her husband have decided "Belmont Books won't sell this book." She adds, "Though I do want S&S to feel the heat for this decision, boycotting all S&S authors seems neither fair nor likely to be effective. More likely, the boycott generates lots of publicity for the book, raises the hackles of the anti-PC, pro-['that person'], pro-Trump crowd, and, in the end, rewards S&S and ['that person']." On the other coast, Christin Evans, owner of The Booksmith, a 40-year-old institution, which is, she said "specifically located in the historic Haight Ashbury" section of San Francisco will skip over "that person's" book (and anything from the Threshold Editions imprint), cut the number of S&S books, and, of the remainder, donate any profits from S&S books to the ACLU "for the foreseeable future." The extremity of what's coming requires we actually lay out on the table what we stand for. If we stand for a free exchange of ideas, we have to support publishing. Can we instead reject this person's ideas and collectively stop giving him a platform? If publishing is a business, can we vote with our dollars and our attention (cultural capital)? Store owners can decide whether to stock this title or not, reviewers can review or not. But a blanket boycott of any publisher's books makes no sense. It's burning down the house because you saw a spider.
When we think of STEM -- science, technology, engineering, math -- we tend to think of male-dominated worlds of startups and computers: Mark Zuckerberg, Elon Musk, Steve Jobs. So then where does Hidden Figures, the story of a group of African-American women mathematicians belong? These women answered a call to work for the government during World War II, doing the essential calculations to build aerodynamic fighter planes, then stayed to work at what became NASA -- and eventually did the computations to put John Glenn on the moon. These women, with their human brain power alone, did the number crunching -- they were called human "computers" -- that today we give over and take for granted as being done by non-human machines. Equally fascinating to me, and one of the reasons I pulled this book from my precarious towering pile, was that it didn't haven any blurbs screaming MAJOR MOTION PICTURE COMING SOON! (which I found out later) -- it had no blurbs at all. Indeed, in Hidden Figures, true to its quiet presentation, the historical narrative is straightforward, and gets the storytelling job done, much like Dorothy "Dot" Vaughn, Katherine Johnson, Mary Jackson, and the other women who spent their days and talents doing such reliably superb work that they were often favored over the male engineers and mathematicians. Math doesn't care who does it: “In math, you’re either right or you’re wrong,” said Katherine Johnson. To make good on Langley Memorial Aeronautical Laboratory's "Victory Through Airpower!" motto, there were a lot of calculations to be done; the first female computing pool made its debut in 1935 -- to much objection from the male engineers. But when the need for human computational experts still far exceeded the number of people employed, Langley began reaching out to qualified African-American women; indeed applications no longer required photos -- a mandate from the old Woodrow Wilson administration. A building, "West Computing," was commissioned at Langley to house these workers sorely needed by a nation at war. But while people like Dorothy Vaughn (who later made it into management) were now working side by side with whites doing the same work, they would still have to face the discriminatory walk through labyrinthine corridors until they found the washroom with the sign COLORED GIRLS. For hours a day, the human computers set about calculating angles of air resistance and drag, finding the best wing shapes and using equations such the Whitcomb area rule to engineer aircraft shapes able to reach transonic and supersonic speeds, developed and tested at Langley in the 1930s and '40s. In the postwar period, the National Advisory Committee for Aeronautics (NACA) began to look heavenward and became the National Aeronautics and Space Administration -- i.e., NASA -- and many of the Langley computers were transferred there, as the mission in peacetime became to conquer space. Even though this took place in a different century, this in some ways is a perfect book for our times. A desperate government was willing to override preconceived notions of gender and race for more overarching goals. Not to mention that, coincidentally, women were paid less for the same work, classified as entry-level "computers" rather then mathematicians and engineers, a title and salary that all the men with similar (or even lesser) credentials received automatically. Today's "we pick the most qualified people," is code for keeping white men in power. Here, when the government literally needed to hire the most talented people -- they turned out to be women, not men, and African American, not white (or Asian -- as anti-Asian immigration laws from the 1920s kept the Asian-American population low) -- the urgencies of war and then the space race with the Russians set these exigencies on a collision course with segregation. In 1941, to help fulfill the enormous labor needs of the military, Franklin D. Roosevelt issued Executive Order 8802 -- "There shall be no discrimination in the employment of workers in defense industries and in Government, because of race, creed, color, or national origin" -- the first Presidential directive on race since Reconstruction. However, Virginia, where Langley was based, was a segregationist state (the Loving v. Virginia miscegenation case would challenge the state two decades later) and the African-American women of the West Computing group had to sit at a cafeteria table designated for COLORED COMPUTERS. One computer, Miriam Mann, started her one-person resistance by disposing of the sign daily, hiding it in her purse. But the next day, a new sign would appear. "They are going to fire you over that sign, Miriam," her husband said. But she kept on with her quiet fight until finally one day the sign was no longer replaced. This book comes at a time when a U.S. election has seemingly fractured the populace beyond repair. For the black female computers, FDR's directive provided an opportunity for these women to become breadwinners (with the social esteem they received from their meaningful work) and pull their families into the middle class. With unequal pay for women, and for African Americans, a job like this for the government was indeed appealing. How these women then navigated this workplace -- especially with the space race coinciding with the efflorescence of the civil rights movement pushing against Jim Crow -- shows that there are ways to fight injustice while also getting a man on the moon. The story is engagingly told with a minimum of writerly embellishment, a perfect choice given how the history itself is substantial and full of quiet drama: from the women's sometimes ambitious, sometimes witty resistance, to the humiliations of so-called "separate but equal," to astronaut John Glenn's warmth to his team and his coolness under the unimaginable pressure of attempting a feat no one was even sure was possible -- while two Russian cosmonauts had already orbited the Earth multiple times (not to mention Sputnik slowly, unnervingly beeping in American skies), America was attempting to put a human into orbit for the first time. Hidden Figures also tells a fascinating story of technology, as the first automated computers began to infiltrate the human workplace at this time -- it could do in hours what took the most gifted mathematical savant days. For NASA, the stakes couldn't have been higher: previously, the longest any American had been in space was for 15 minutes, in a sub-orbital flight. But before the launch, John Glenn insisted that the voluminous electronic computations be double-checked by none other than Katherine Vaughn. Human brain versus electronic computer: once she confirmed the numbers matched, Glenn proceeded onto the historic flight of the Friendship 7, which would put an American into deep space for the first time. On an individual level, these women were part of the "talented tenth" wanting to ensure a solid future for their children -- and to change the world. Collectively, the women pushed America forward even at the expense of their own burgeoning careers; Mary Jackson, achieving the coveted level of GS-12 Aeronautical Engineer as a black woman, didn't do enough to help the advancement of others, she felt. So at age 58, she took a demotion to GS-11 to become the head of the Federal Women's Program, committed to helping all women advance -- a way, she felt, to naturally bridge racial differences. While there has been scattered acknowledgement of this history -- Katherine Johnson was awarded a Presidential Medal of Freedom by President Obama last year, this collective story has, until now, indeed been that of "hidden figures." I think of how these women's work touched even our tiny corner of northern Minnesota: my father, a Korean immigrant, helping my brother with his junior high science fair project -- a scale recreation of the Apollo 11 moon landing. Apparently the Apollo 11 astronauts had been much less sure that they would succeed in getting to the moon. However one person, Katherine Johnson, had confidence: she knew her numbers putting them there were irrevocably right. 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“I ran into a girl...She said I was a strange person and she told me why. She said, ‘You were born in a certain area where the ground is metallic.’” - Bob Dylan, Behind the Shades Revisited Bob Dylan was born in Duluth but spent his formative years in Hibbing, a small, isolated northern Minnesota town whose claim to fame (according to the billboard that greets you as you come into town) is that it's home to the world's largest open-pit iron mine. It’s also my hometown, in an area so remote from Minneapolis that a friend from the city had never heard of it. There are a number of towns in Minnesota's Iron Range, which covers the upper fork of the state, but Hibbing is a particularly weird place given an accident of history; its inadvertent placement atop one of the richest veins of iron ore meant the mining company had to grant the townspeople major concessions to persuade them to move its location. Thus Hibbing is the only town with a high school listed in the National Register of Historic Places: the building cost four-million dollars (in 1923!), complete with marble floors in the bathrooms, a 1800-seat auditorium patterned after the Capitol Theatre in New York City, and a Broadway-level green room. Because Hibbing, which is near Canada, wasn't the most hospitable place to live (in his memoir, Chronicles, Dylan described the winters as so cold and unending as to be hallucinogenic), the mining company also invested in education: the superintendent of the school system supposedly received the highest salary of any school district in the state, and K-12 instructors were paid unusually high salaries for the area. The Hibbing public schools were thus funded more like lavish private schools, so you end up with people like English teacher B.J. Rolfzen, who is often credited by Bob Dylan for instilling in him a love of language. To give you an idea, this is where we had our pep rallies for homecoming, our auditorium. You can imagine yourself laughing a young Bob Dylan (then, Robert Zimmerman) off the stage at the talent show (yes, this happened). But whether it was the richly funded schools or the iron ore in the water or some other strange vortex (Hibbing is also, weirdly, at the epicenter of climate change), the town boasts an unusual number of writers, some of them culture-changers like Dylan. (And this is not to mention that Greyhound Bus Lines, Jeno's Pizza Rolls, and Gus Hall -- all Hibbing originals.) The uncle of one of the kids I sat next to in Earth Sciences in junior high was Vincent Bugliosi, the Charlie Manson case prosecutor and the author of the best-seller about the case, Helter Skelter. Bethany McLean has the distinction of being the person who broke the Enron scandal; she wrote about first in Fortune magazine, and then in the best-selling Enron: The Smartest Guys in the Room, which was made into a movie of the same name. Rick Novak, M.D., is the author of a medical thriller set in Hibbing that references the newest Nobel Laureate: The Doctor and Mr. Dylan. Frank Riley, author of various science fiction novels, won a Hugo Award for They'd Rather Be Right, which he co-wrote with Mark Clifton -- apparently this was only the second time the Hugo was awarded to a novel. Who will come out of Hibbing next? Image: Wikipedia
Reader looke, Not on his Picture, but his Book -- Ben Jonson When I was in my 20s, I used to spend hours at the Strand Bookstore in New York, obsessively gazing at book jacket photos of authors. I was trying to discern something -- A key to genius? Or the mere fact that this lucky person, in this photo, had managed to get a book out into the world? The variations were endless: Here was a classic black-and-white, chin resting on fist. Here was a playful one, slightly off-center. Sexy duck face for a middle-grade children's book...okay. Or, how about this one, gorgeous photo, but one that looked completely different -- like witness protection plan different -- from the author I saw as I sat in the audience at a crowded Barnes & Noble. Or this one: instead of confined to the inner flap, her face on the entire back of the book, where the blurbs would normally be. Was this good? Did this mean the press thought she was such a great writer they wanted everyone to know her? Or, was it like using a pretty face to sell toothpaste? Fast forward a few years on, and I'm finally published. My husband is in grad school, but before that, he'd worked at the venerated publisher Farrar, Straus and Giroux. Knowing my obsession, he would often point out the different FSG authors' pictures, noting how the press often signaled the importance of a book by commissioning one of the well-known author photographers, most famously, Marion Ettlinger, whose black-and-whites portraits are instantly recognizable by the unsmiling, dramatic poses of her subjects, the marmoreal lighting. These could run thousands of dollars for a single image. My first novel came out with Beacon Press, an independent press that published both poet Mary Oliver and the Pentagon Papers; it's owned by the Unitarian Church -- hardly to be faulted for not shelling out big bucks for an author photo. I was lucky enough to use a lovely black-and-white portrait done at MacDowell, an artist's colony. Earlier in my career, when I'd published young adult and middle grade fiction with Houghton Mifflin, my husband took the photos: we'd spent a day running goofily around New York City, occasionally imitating "serious author" poses and cracking up. The ones I submitted had me grinning, in jeans and sneakers sitting by the Bethesda Fountain in Central Park. But even though both my novel and children's books came out before social media, I received creepy messages via email and AOL about how "nice" I looked. "You look like a model." I don't look like a model. I am, however, smiling warmly and authentically at my husband and at Joanna Eldredge Morrissey, the MacDowell photographer. A majority of these creeps seemed to be Asian fetishists, and were persistent as barnacles -- one guy stuck with it into the social media age, posting on my Facebook author page how we must meet -- I don't know if he realizes he's in love with a decade-old photo. Funny, yes, but unnerving, especially when the invitations for coffee appear. Sometimes I don't post events because of them. But after being out of the publishing game for more than a decade, it's author photo time! But I have come to wonder if, perhaps, for women, author photos are too often a lose-lose situation. Women are judged -- very often wrongly -- because of their looks. There is no more obvious evidence of how women's looks are "consumed" and "read" by the public than the most recent presidential debate. Donald Trump galumps onto the stage in an ill-fitting suit, hair (if it is, indeed human hair) afrizz, his amorphous horse-fish hybrid face like a genetic engineering experiment gone awry. Hillary Clinton shows up in polished hair and makeup, understated age-appropriate business attire, probably a media consultant's pop of color -- but it's her appearance that becomes the Rorschach blot for an overheated electorate: She smiled too much! She smiled too little! Did she look healthy, sick, or overprepared? Was she going to cough, pundits wondered, breathlessly, while the audience could barely hear Trump through his odd and unsightly sniffling. It's as if we already give any American (white) man the benefit of the doubt in terms of fitting into any narrative, especially one of heroism or competence, but a woman who breaks through always has to be stopped, something must be wrong. Women authors, genius aside, must make sure they are not too old, or too young. Not too serious, but also serious enough. They have to be attractive, but not too attractive; for some reason in men it's dreamy but in women it's suspicious. Take the example of poet Sarah Howe, winning the U.K.'s top poetry prize, the T.S. Eliot, but also nabbing the all-around medal for a trifecta of misogyny, racism, and ageism: "too young, beautiful -- and Chinese"--a bunch of male "critics" (I'm only calling them critics, in that they criticize) seemed to feel someone who looked like that somehow didn't deserve such a storied prize, it had to be rigged! Forget the quality of her work, let's merely assume there must have been "extra-poetic reasons" for the award, such as her being "presentable" ("You look like a model!"). Author photos matter for men, too, but often these are calculated statements, gimmicks to gin up publicity -- the sloe-eyed Truman Capote-as-odalisque portrait was a publicist's dream. Men get to define what being an author is, women have to try conform to an abstraction that sometimes doesn't even include them: when Jennifer Egan won the Pulitzer for her wildly inventive A Visit From the Goon Squad, the Los Angeles Times ran the picture they thought best represented the genius novelist: a picture of Jonathan Franzen. In this hyper-exposed age, as authors we're told repeatedly we need a platform, a brand, some way to distinguish us from the swarming thousands of other authors being published each month. But this presenting can get in the way of the solitude that's needed for creation. I'm a creature of the Internet (hence you are reading this), but I've admired Elena Ferrante, the pseudonym of the Italian novelist who wrote the beloved series of Neapolitan novels. She does nary a book festival, a signing. She's stated she needs anonymity and privacy to write; her books are the only public thing about her -- and as book lovers, is there anything more we need? We know how that turned out. Some reporter tracked her down and wrote all about her personal life because he (yes, a he) decided he was somehow entitled to it. And The New York Review of Books (!) decided to publish his findings (a piece I have not read, as I am trying to -- possibly futilely -- keep the "Elena Ferrante" image running in my brain, pristine). Privacy-pro Thomas Pynchon indeed acknowledged the curiosity readers have about authors in his introduction to his 1984 collection, Slow Learner, Somewhere I had come up with the notion that one's personal life had nothing to do with fiction, when the truth, as everyone knows, is nearly the direct opposite. But he's been more or less successful staying a mystery. True, there was a 1996 article in New York Magazine, "Meet Your Neighbor, Thomas Pynchon," that tracked down his supposed address in Manhattan, but what stood out to me in the article was not the exposure but its opposite: how much his putative neighbors were united in the protecting of his privacy, which has been left more or less unmolested for 40-plus years, so much that he was portrayed in an episode of The Simpsons with a bag over his head. Yet for Elena Ferrante, My Brilliant Friend made her a worldwide sensation in 2012. I.e., she enjoyed her anonymity for four, not 40 years before a journalist decided to forcibly rip away her veil of privacy in a way that feels assaultive. Nobody feels Thomas Pynchon owes his public. But Ferrante, how dare she try to keep anything from an inquiring mind! One shudders imagining the secret videos and the doxxing that would occur if Emily Dickinson were living today. Back to author photos. Because I myself enjoying peeking at author photos, I felt it right to update mine for my forthcoming novel. I contacted several photographers, went with a woman who specializes in musicians' headshots, and, because musicians must always be broke, was pleased by her reasonable rates and that she would give me the images to all the photos she took. But, even as I had the photos done in a chilly loft in Chelsea, knowing I was posing for pictures, I didn't feel like I looked like me. I don't wear makeup, that was part of the problem. But it went beyond that. Makeuppy me didn't look like the me who wrote the book. I also didn't want my spouse to take a picture -- I didn't want the self I save for my friends and family out there for public consumption. After what happened to Elena Ferrante, I feel that more than ever. I needed a buffer, a filter, a conception of an author that would be a stand-in for me. Indeed, trying to find a platonic ideal of author photo made me recall my friend Monique Truong's portrait for her first novel, The Book of Salt. I know what my friend looks like. But her Marion Ettlinger portrait somehow embodied the novel in an artful, ineffable way. When I asked her about the process, she said, indeed, what was funny was that the photo -- the one I liked so much -- was not the one she liked the best. Her editor chose it, which made her realize, in retrospect, "An author photo is a marketing tool, like the cover of your book. In that way, there's necessarily a disconnect between it and you." Ben Harnett, my friend on Twitter, has an ongoing art-project where he creates watercolors of Twitter avatars, many of them writers. I was curious if that would work. It took a while -- he has a long waiting list. I loved it, but still felt it was a little too me, i.e., the private me. Then I did a reading that was attended by author-artist Kate Gavino, whose tumblr, "Last Night's Reading" (and book of the same name) showcases her unique talent of making a quick, almost crayon-y sketch of the author during a reading, and pulling out an interesting quote. She's profiled everyone from Amy Bloom to Zadie Smith. I was excited to appear there, too, and after first admiring the quote she picked -- "I write slowly because I have to fail in every single way possible before I get it right" -- I kept looking at the picture. I'm not smiling or frowning but something in-between -- it seems just right. I've started using it as my "official" author photo, and the responses I've gotten have ranged from "Can you send something a little less weird?" to "I love it!" to quiet acceptance. To me, it's the perfect image, one that includes a very simplified sketch of a necklace made of coconut shell, purchased in Key West when I was there finishing my novel. I didn't know the artist was going to be there that night, that she caught the necklace, and my beloved glasses (another story), made it perfect, landed it somewhere between a Ben Jonsonish no-photo and wearing a sandwich board with my face on it. Occupy author photo! Image Credit: Flickr/Christopher Dombres.