In her collection of essays and talks The Wave in the Mind, Ursula K. Le Guin wonders why we have book tours at all. “It wasn’t until the seventies, I think, that publishers realized they could sell more books by sending their author to two hundred cities in eight days to sign them,” she told a Women in Language conference in 1998. “So now here in Berkeley you have Black Oak and Cody’s, and we in Portland have Powell’s and the Looking Glass, and Seattle has Elliot Bay Books running two readings a day every day of the week and people come.”
I packed The Wave in the Mind into my luggage as I set out from Britain for North America. Not least because I’d be visiting Portland, Ore., Le Guin’s home city; and not only because 35 percent minimum of my carry-on is reading material; but as an unknown British writer, I needed to holdfast to Le Guin’s promise for my 12-events-in-seven-cities first book tour: people come!
I hoped my other reading would be as encouraging: Han Kang’s The Vegetarian, J.M. Coetzee’s Elizabeth Costello, and, on the recommendation of a friend, Elizabeth Gilbert’s Big Magic. I’d pick up others along the way. All would be serendipitous. I’m going to learn from them not only how to handle a book tour better, but how to be better, fully stop.
Lantern Books, Brooklyn, N.Y.
“This is how I want to spend my life,” writes Gilbert in Big Magic, “collaborating to the best of my ability with forces of inspiration that I can neither see, nor prove, nor command, nor understand.”
This was how I wanted to spend my life, too—as a published author. I’d come to Brooklyn for the launch of my debut, The Pig in Thin Air. The event marked a psychological “end” to writing the book; despite having done publicity events in the U.K., New York provided closure on the book’s making. Lesson one, perhaps: writing a book is a desperately personal thing, and only you know when it’s “finished.” I needed a public introduction for that. I needed that moment to be recognized.
Pig is my first published book. I’ve always written: journalism, non-fiction, short stories, flash fiction, and I teach writing too. I have a mob of novels complaining bitterly of unfinished business from their various stashes. Pig came after a 2014 tour of North America working with organizations and individuals changing our species’ relationship to nonhuman animals. I approached Lantern Books with an idea based on this trip: a carnivore-to-vegan literary memoir, and a study of how we come closer to the animals we eat. The publisher was keen. I wrote the book in six months. Another nine of rewriting, copy editing, and proofing later, and Pig was published.
Then the hard work began. If you’re Thomas Merton, it’s okay if your books “stand outside all processes of production, marketing, consumption, and destruction.” For the rest of us, there are sales to make. A publisher to please. It means months of emails, organizing events. It means the people at Powell’s and Elliot Bay saying, “We’ve got Murakami that night…what did you say your name was?” It means more time on social media than is good for any writer, in an attempt to secure an audience.
I’ve got an audience in Brooklyn. Readers, artists, wine buyers, magazine editors. My introduction is conducted by my publisher. I calm my nerves (will I read well?; answer clearly?) by recalling Big Magic’s closing exhortation: “we did not come all this great distance, and make all this great effort, only to miss the party at the last moment.”
On the face of it, you couldn’t get two more different books, or writers, than myself and Gilbert; Pig, and Big Magic. But in other ways I couldn’t have chosen (okay, it was a recommendation) a better book as company. Before Eat, Pray, Love, Gilbert was a writer without fame or fortune. She had three well-received books, and still worked full-time elsewhere. But like Gilbert, “my intention was to spend my entire life in communion with writing” and that meant finding a way to be the professional writer; maybe even making money from it. Because I was not making any money from this tour. Lesson two: in Gilbert’s words, “I became my own patron” to make this tour happen. Even mid-list authors at big publishing houses are expected to organize, and usually pay for, their promotion and travel. And that’s okay.
Lesson three: opening nights will always be nerve-wracking. But that’s okay too. The evening is full of goodwill and good sales and good food and fireflies and my new shoes start to break in; and, yeah, I’ve finally achieved something I’ve dreamt of for 35 years. I count myself lucky; a little bit of big magic has found its way to my door.
Various Locations, Including a Chicken Slaughterhouse, Toronto
The last two chapters of Pig tell the story of my involvement with the Save Movement, a group advocating for the end of the exploitation of nonhuman animals, which holds regular vigils to bear witness to the vast numbers of animals killed every day. Pig is one of the first published accounts of this movement, and it’s important for me to return and support their work; okay, as well as sell my books.
On the flight from New York I read Han Kang’s The Vegetarian. As a vegan writer, there are few representations of veganism or vegetarianism in literature; I want to study them, to see how we come across. Pig is a vegan memoir; in my fictional writing, also, I experiment with vegan characters to explore difference, especially around toxic masculinities (the macho need for meat). The Vegetarian was—or should have been—the ideal book to read before hosting a potluck, reading to a crowd outside a slaughterhouse, and giving a talk to activists at the University of Toronto.
But The Vegetarian is a disappointing book (Jon Yargo and I will have to disagree on this one). The emotions are “vague” and “almost.” The female protagonist is passive; we hear her voice only through italicized fragments or the eyes of of other people. As Kate Tempest says, “there’s a temptation to create passive female characters. It’s a narrative trap set up by the male standard that you’ve got to fight. I don’t know why I fell into it. I don’t even know any passive women!” It’s easy to see what Kang has tried to do by exploring the ways in which male culture objectifies women—but do you do that by again objectifying a woman?
But The Vegetarian was the right book to read for Toronto. It made me observe more closely the active (not passive) and present (not withdrawn) women who lead the advocacy movement in the city. The vigils are organized and run mainly by women. There are men participating, but the Save movement is led and shaped by proactive, intelligent, and compassionate women. So across my three events, I prioritize reading the sections that speak to the ways in which feminist ethical thought has shaped my work. That feels the right thing to do for this white, British, middle-class man with a book in his hand.
I need a new book for travelling. My host Lorena, who runs healing circles for those who attend the vigils, tells me about a second-hand store 10 minutes walk away: Circus Books & Music. Within half an hour I’ve got four new titles, including The Beluga Café by Pacific Northwest writer Jim Nollman, a book that will come in handy later.
The FARM Animal Rights Conference, Los Angeles
Four days in a hotel. I’m here to “work the room” and promote Pig to hundreds of animal-loving attendees as well as help out on the Lantern Books table, and do my first official signing. Conferences can be good places to sell your book if the theme is aligned. But four days? That’s a lot of “working the room” for a writer who prefers early nights.
By Day Three and the awards dinner it’s all a bit much. I’ve done my “meet the writer” signing. I need time out. I get caught reading a novel at the bar while the other 1,700 delegates are, mostly, attending the gala. At least the novel is Coetzee’s Elizabeth Costello, the most well-known fiction to explore our relationship with the animals we eat. The only “appropriate way and indeed the only way in which to absorb [the novel],” says Costello, “is in silence and in solitude.” It’s too cramped in the gala; too many people; and too much weird singing. For an introvert writer, a book tour is a many-peopled challenge. And the conferences at which our books might sell are one long, tiring, smiling engagement.
A Hollywood music producer comes over and starts chatting. This is the type of contact I should be cultivating, says my promotional brain; she produced the sound for the new advocacy film Unity. She’s attractive, too. “Does the mind by nature prefer sensation to ideas; the tangible to the abstract?” asks Coetzee of Elizabeth Costello’s son as he lies in bed with a woman he’s just met at…okay, a conference (albeit one at which his mother, not he, is the invited writer). Well, tonight the mind prefers the ideas, the abstract. I need quietude; to read.
As soon as I say this, the music producer admits she’s overwhelmed by all the people too. She squats down—I don’t ask her to sit—and we talk about the need for creative solitude. I didn’t expect there to be much on this tour—but this little? Another lesson: you cannot, as Le Guin says, be both a writer and a person on the book tour. “People line up to ‘meet the writer,’ not realizing this is impossible,” she continues. “Nobody can be a writer during a book tour […] All their admirers can meet is the person—who has a lot in common with, but is not, the writer. Maybe duller, maybe older, maybe meaner.” Right then, probably all three.
Writers live with this contradiction. We read in solitude, and we write in solitude. But in between, we need to make connections, and it can be a trial, a judgement. We do it as person or writer (or both); and yet who this I, this you, this writer/person is, is anybody’s guess. Perhaps, as Le Guin says, the book tour “recovers for us the social act.” It brings us out into the world again. It might feel like the gates of hell, but it is also a doorway to other people.
Phinney Books, Greenwood, Seattle, Wash.
The dreaded fear on every tour is, of course, that no one will turn up. Well, not no one. That would be okay; you slink off with only the bookseller’s disdainful smile and a few hours saved (nothing more welcome than a cancelled social engagement). But if two people and a dog turn up, you have to sit through the embarrassment and shame that they know that you know that hardly anyone came out for you. And that despite your author-status, in this town, on this night, you’re still a nobody. That smarts.
Apparently there’s an anthology about book reading failures. I cannot find it, and perhaps the included writers have thought better and sought injunctions to have it censored. Or maybe it’s that, as Gilbert says in Big Magic, failure is not what it seems to be. According to the acclaimed Anne Enright, “failure is what writers do.”
Tell that to a writer waiting for a crowd to arrive on a warm, sunny evening in Seattle. Warm and sunny means people don’t want to come inside. Great.
I go onto social media to seek advice from fellow writers. The best is from ethicist Carol J. Adams, author of The Sexual Politics of Meat. “Don’t judge by numbers. Give those two people (and the dog) everything that you’d give a larger crowd. Then you know you haven’t let them down. Or yourself.”
And so that’s what I do. Seattle is my smallest event. But there are some people, including a friend, and including a woman from the mid-sized non-profit Physicians’ Committee for Responsible Medicine, who happens to be in town. She buys a book, and is generous in her praise of the talk. And yet that isn’t the magic. About halfway through, two young girls (and a dog! called Fenway) slip in at the back. When the questions begin, one of the girls shares her story: she was diagnosed as diabetic, and was on her way to losing her sight and having a foot amputated. But she adopted a vegan diet, recovered her sight and saved her foot. She’s still diabetic, but her health is massively improved.
I understand that—while it is no panacea or cure-all—vegan food practices are healthier for humans, and the only way to feed a planet of nine billion. Others in the audience give the girl incredulous looks. But the woman from PCRM corroborates her story with direct reference to medical research.
Then I understand: this event isn’t for me. I didn’t organize it to sell books. I organized it so this young woman could have her story validated by the woman from PCRM, who she would never have met otherwise. And I learn this lesson well: you don’t write the book for yourself. Once it’s published, it’s not yours. It’s theirs.
“It’s an old book, but reissued,” he says. “It’s my favorite right now.”
“Okay, then I’ll take it,” I say, equally unequivocally.
I’m full of relief the evening is over, eager to settle up and have a drink at a bar. So eager in fact that I trade the sale of three Pigs for which Tom has taken the money, for The Last Samurai. This is a learning in itself: that getting out of the bookstore with your profit can be an escape act—not because of the bookseller, but because of a) the relief of selling any at all; and b) what else do you do with cash in a bookstore?
So I leave two bucks down, and four copies of Pig heavier, taking back some advances I’d sent ahead. I start reading The Last Samurai that night. It’s a sublimely written tale of the life of Ludovic, a child genius, and his mother Sybilla, that explores the limits of genius (or knowledge porn, as Brian Hurley puts it) through Ludo’s search for his father, told through his prodigious learning—dozens of languages, engineering, history, literature, film. All this is sieved through their mother-and-son obsession with Akira Kurosawa’s film Seven Samurai.
It’s only now that I wonder if my fear of the low turnout and the, well, actual low turnout, was on Tom’s mind as he recommended The Last Samurai. In the last pages, when Ludo’s narrative arc has come to its end, he meets another genius, a pianist his mother once took him to see in concert. This pianist cannot play concerts any longer because of his unconventional and noncommercial approach. Their discussion turns to what art is worth making and how to put it into the world. That is, even if there are only five people in the world who will buy the pianist’s CD (my book) but they are the type of person who will buy his CD (my book) and get off their train (path in life) to work for a sculptor in Paris (challenge themselves and do something amazing)…does he (me) need 10,000 people to buy his CD (my book)? Does he (I) need 1,000 people at his concert (my reading)?
Or just the five people (and dog!) that matter? Discuss.
Village Books, Bellingham, Wash.
Or, let’s talk about fathers. Jim Nollman’s The Beluga Café is an enjoyable book. Considering it was published in 2002, it was weird how often it turned up on shelves during my tour. Perhaps the most magical element is that, for an adventure with “art, music and whales in the far North” the artist-adventurers never actually see any whales. There’s a hint of this when Nollman quotes Rainer Maria Rilke: “The purpose of life is to be defeated by greater and greater things.” But it’s a good book for touring the Pacific Northwest. It’s a story of the clash of cultures between Western colonial whites and the Inuit. It would be a lifesaver during the reading at Village Books.
I’d fallen on a successful pattern for book readings of less than 20 people. I’d introduce how I wrote Pig, then read for 10 to 15 minutes and open it up to the audience to hear their stories, before reading another section. I ask Clarissa, a local vegan who’d given me support on Twitter in generating interest for the event, to share her story. Then I open it up to the wider audience; a man in his ’60s puts up his hand.
“So, you, as a vejjan [sic]” he says to me, “what do you think about the Native Americans hunting whales?”
I’d wanted the moment to be a sharing of stories, not Q&A, and whales hadn’t featured; but okay, I’d read Nollman so I was prepared. No, I’m not another white British colonialist telling the indigenous people of the Pacific Northwest they can’t hunt whale. But for myself, as for Jim Nollman and his companions, I just don’t believe people can “own” whales.
It settles him. The conversation continues, I read another section, and then there’s the Q&A. The troublemaker raises his hand.
I often read from the first half of Pig, a memoir of growing up as a meat eater, and the family consternation at my attempts to go vegetarian. So I talk about growing up, and explain how my father is/was an alcoholic, and in 2008 went on a bender and went missing—and remains missing. I read this bit, admitting that it’s also for affect. I want to move people with my writing; and this bit moves people.
I never guessed anyone would actually ask me about it.
“So can you explain the relevance of your missing father to this book?”
Later, a friend says she wanted to hug me (and slug the guy). But wasn’t this why I’d written the book? To answer that question: not for him, but for myself?
I say that toxic masculinity is a major global problem; the perverse need for men to dominate others, to own or consume their flesh, is wrecking our world. And maybe having a father whom I rebelled against at such an early age, who left my mother when I was two, providing my sister and I with a childhood shaped more by women who cared and less by men who drank, made me feel this way. Staring down the crises we face—climate change, deforestation, water pollution, our common health problems, gender inequality, the suffering of other species—calls for care and interdependence, not more toxic machismo.
Another guy in the crowd thanks me for what I’ve said, and shares his own story. After the reading is over, the troublemaker comes up.
“You know, I rescue those little black and red ladybugs from my car windscreen and put them into the grass,” he says. “So maybe I’m a little bit vejjan too.”
Hey, maybe. Isn’t that a start?
Silently I thank Jim Nollman and his sober failure in the Arctic, a failure that, as a writer and artist, he suffered, but was able to blend into a humble story of adventure and commitment. “Few professionals make their livings describing internal demons,” writes Nollman. “These professionals have decided that the internal story must be excised from their documentaries and non-fiction accounts, best left to novelists and feature-film writers to invent. What is it? Sissy? Too difficult? Too personal? Or is it just deemed uninteresting?”
Too difficult? Too personal? I don’t know. What I do know is I’m glad I wrote that part about my father. I’m glad I read it out. And I’m glad I was asked that question.
Portland, Ore., Vancouver, B.C., the End
There are two more stops on the tour—Portland and Vancouver, B.C., and five more lunches and readings and dinners and signings, including a talk in a church to 150 people, which emphasizes the lessons I’ve learnt. Not least of these is that having locals on the ground organizing and supporting makes the event go swimmingly. So what practical things have I learnt for the next tour?
two people and a dog is okay, too—and sometimes, better
invitation is better than confrontation
rely on social media only so far
don’t think that you’ll get downtime in between events
being professional counts; those sore shoes, trimmed nails, suit jacket all go towards the impression you leave on the individuals who turn up
I may have laid down on the floor of an Airbnb apartment and cried that I did not want to get up and travel for another six hours to do it all again. But I did get up. I did do it all again. And what I earned from doing that will not be taken away easily.
What did I earn? Freedom. Freedom from the fear that your work doesn’t count. It counts. Even if it’s for the five people who buy your book, but those five people, as Ludo says, cross the bridge, take a train, and go to work for a famous sculptor (or some similarly beautiful thing) because they read your book (or listened to your CD).
“The most ancient, most urgent function of words,” writes Le Guin, is “to form for us ‘mental representations of things not actually present,’ so that we can form a judgment of what world we live in and where we might be going in it, what we can celebrate, what we must fear.”
We create books or write essays and invest in the infrastructure around that writing; we put it into people’s hands and ask them to read, or listen. This is an auxiliary but no less essential part of the writer’s craft. It is a hard slog; there is little downtime in the downtime. But the joy of meeting people and having them hear your words; the emails and reviews that emerge from the ether; the connections made between people who ‘get’ the same mental representation that you do… All this means that maybe you’ve given them something to think about, and that changes them.
And remember this: you will never have a first book tour again.
Image Credit: Wikimedia Commons.
In his insightful book Meat: A Natural Symbol, Nick Fiddes points out we so often confuse “meat” with “food,” often treating them as synonymous. Summarizing recent anthropological work, Fiddes points how Ugandans trade “plantains that would feed a family for four days for one ‘scrawny’ chicken with less than a twentieth of the nutritional value;” Nazi Germany’s “wish to supply its forces with ‘excessive’ standards of protein” (meat) consequently dampened agricultural food production at a key moment in the Allied blockade.
Our ontological trouble with “meat” is at the center of Han Kang’s The Vegetarian which is available to Anglophone readers nine years after becoming a critical hit in South Korea. The novel follows Yeong-he, a young woman who writes speech bubbles for magazines. Shaken by a terrible nightmare, she stops eating meat. She becomes disgusted by her husband who smells like meat and discards her leather clothes. Eventually, she refuses to eat any food at all. She communicates less and less.
The Vegetarian is told from the “close-third” perspectives of three different characters, each one more empathetic but no more capable of “saving” her: her husband, a crude narcissist; her brother-in-law, an aesthete who attempts to incorporate her ethereal presence into his art; and her sister desperate to keep her alive.
Their individual and collective failures are inscribed with Han’s deep pessimism. To the Korean newspaper Dong-a Ilbo, Han said, “I wanted to show the extreme core of a dog-eat-dog world.” Han told The Guardian, when she explored Korea’s Gwangju Massacre for a novel, her questions were “how can humans be so violent and cruel, and what can people do to counter such extreme violence?” Specifically in how her characters are prone to verbal, emotional, and physical abuse, The Vegetarian is dark, cynical, even antinatalist.
That tone is well-earned, and balanced well with gallows humor. In the first section, Yeong-he and her husband attend a deeply unsettling dinner with his work colleagues. He has given them a tactful, misleading explanation for his wife’s vegetarianism. The coworkers respond like a spiteful Greek chorus, threatened by her (inferred and never explicit) moral judgment,
‘Well, I must say, I’m glad I’ve still never sat down with a proper vegetarian. I’d hate to share a meal with someone who considers meat repulsive, just because that’s how they themselves personally feel…don’t you agree?’
‘Imagine you were snatching up a wriggling baby octopus with your chopsticks and chomping it to death — and the woman across from you glared like you were some kind of animal. That must be how it feels to sit down and eat with a vegetarian!’
The colleagues begin to ostracize him due to his wife’s odd behavior. To erode her defiance, her husband’s reaction is to provoke her family to intervene. Demanding that she conform to social convention, Yeong-he’s father, whose belligerence conjures up the patriarch of Franz Kafka’s “The Judgment,” berates her. The rest of the family cajoles her, as her husband watches.
I expected my wife to say something in her defense, but the sole, silent answer she made to all those glaring faces was to set the pair of chopsticks she had picked up back down on the table.
A small flurry of unease ran through the assembled family. This time, my mother-in-law picked up some sweet and sour pork with her chopsticks and thrust it right up in front of my wife’s mouth, saying, ‘Here. Come on, hurry up and eat.’
After rushing her to the hospital in his arms, her brother-in-law, a video artist, feels compelled to feature her in his art. Troubled by his own sexual attraction to her, he ultimately exploits her fragility and vulnerability.
Was he a normal human being? More than that, a moral human being? A strong human being, able to control his own impulses? In the end, he found himself unable to claim with any certainty that he knew the answers to these questions, though he’d been so sure before.
In the final section, Yeong-he’s sister cares for her sister. Her own complicated feelings, protective and resigned, are beautifully depicted. The novel plays on ideas of martyrdom and sacrifice; her sister comes to suspect the cruelty of the desperate need to sustain Yeong-he’s life against her will.
Martyred for what exactly?, a reader might ask. Simply because she doesn’t like the taste or smell of something? In the first section, we gain some insight into Yeong-he with brief snatches of her dreams in which she blends into the animal world:
Murderer or murderer…hazy distinctions, boundaries wearing thin. Familiarity bleeds into strangeness, certainy becomes impossible. Only the violence is vivid enough to stick. A sound, the elasticity of the instant when the metal struck the victim’s head.
As the novel progresses, her motives become increasingly inscrutable — in many ways, the novel forgoes any clear thesis on the morality of eating meat. It situates her repugnance for meat in “taste,” an ephemeral but indispensable arrow. As John Ruskin argued in his essay, “Traffic,” “Taste is not only a part and an index of morality — it is the ONLY morality. The first, and last, and closest trial question to any living creature is, ‘What do you like?’”
The language we use betrays just how ingrained taste and our sense of right and wrong are. We feel disgusted (from dégoût, have a distaste for) when banking conglomerates defraud the public. To argue that a person, or groups of people, should not have a taste for something (meat, violence, your love) speaks to that person’s fundamental moral maladjustment.
All of which is to say that Han Kang’s The Vegetarian is a sharply written allegory that extends far beyond its surreal premise to unexpected depths. The translation by Deborah Smith is by turns elegant and coarse. The narrators are perfectly pitched to their individual voices; they are looking for answers, or perhaps else. Throughout the novel, the characters search to hear or speak “words of comfort.” The narrator says at one point, “Whatever the words were, they hadn’t been words of comfort.”
“They were merciless.”
I read every book I can find most years, because I have little children who are in bed by 7 p.m., and because I live in a small town in Florida with not a whole lot to do, and because I usually find mingling with other humans to be absolutely terrifying. But this year I had one of my reading black holes in the spring, when I just couldn’t sit still long enough to make it through weighty books. It’s an ugly lapse when reading is basically your job. It all got worse this fall when I was on the road and usually too tired to do more than eat cold french fries and glower at my fellow travelers, so what made it into the brainpan was shorter, sharper work, not the elephants and juggernauts of the year. That said, a number of books thrilled me. Here are my 10 favorite books that I read in 2015.
I loved Terrance Hayes’s poetry collection How to Be Drawn, as well as Karen Solie’s collection The Road in Is Not the Same Road Out. My favorite novel was the fourth Elena Ferrante Neapolitan novel, The Story of the Lost Child, but what I really mean is that the fourth book itself is very good, but the entirety of the project is phenomenal, meaty, brain-breaking. These story collections slayed me: Lucia Berlin’s A Manual for Cleaning Women, Joy Williams’s The Visiting Privilege, and Colin Barrett’s Young Skins. And I loved four beauts to be published in the U.S. next year, the novels High Dive by Jonathan Lee, The Vegetarian by the South Korean writer Han Kang, and Sudden Death by the Mexican writer Álvaro Enrigue, and a beautiful graphic novel by my friend Tom Hart called Rosalie Lightning, which is pure pain made beautiful by art and attention.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.