Tag: Author Event (Page 15 of 15)

Author Q & A with Gene Dattel

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (November 5)

reckoning with raceCultural and economic historian Gene Dattel, who grew up in the small Mississippi Delta town of Ruleville, tackles questions about what he calls “America’s most intractable problem–race”–up close and in depth in his newest book, Reckoning with Race: America’s Failure (Encounter Books).

The biggest and most necessary part of bridging the racial divide, he said, is “economics–which means jobs,” a goal he believes is possible with what he calls “the right kind of assimilation.” To Dattel, that means avoiding what he believes is a harmful separatism while at the same time allowing for full expression of one’s cultural heritage.

Dattel’s lifelong interest in racial history, and its ties to economic history and colonial nationalism, was launched in the early 60s when he was entering Yale University at the same time James Meredith was entering Ole Miss.

After his early years in Ruleville, located in what he calls “the heart of the majority-black cotton country of the Mississippi Delta,” he graduated from Yale, and then Vanderbilt University Law School. Of his 21-year career in finance as a managing director at Salomon Brothers and Morgan Stanley, 15 were spent in London, Hong Kong, and Tokyo. He has done advisory work for the Pentagon, major financial institutions, and cultural organizations from the New York Historical Society to the Mississippi Civil Rights Museum.

His previous books include Cotton and Race in the Making of America and The Sun That Never Rose.

What prepared you to write this book, (as in, I’m curious–what exactly is a “cultural historian,” and how did you become one?) and what do you hope your book will accomplish?

The small-town dynamic of my youth mean that I had to adjust to people–old/young, middle class/poor, black/white–regularly. Beginning at age 13, I worked in my family’s dry goods store on Saturday night when most of the customers were black. I entered Yale at the same time James Meredith integrated Ole Miss. This triggered my profound interest in racial history, economic history, and colonial nationalism.

A career in finance brought home the importance of economics in the lives of people. My 11-year stay in Japan was transformative; there, I observed the first major economic challenge to the United States by a non-white, non-Western nation. For eight years, I performed a “Parallel Lives” Program with black author (and businessman” Clifton Taulbert about my growing up Jewish and his growing up black in the Mississippi Delta in the 1950s. My book Cotton and Race in the Making of America (2009), a description of the fateful intersection of the power of cotton and the African-American experience, was the stepping stone to Reckoning with Race.

My definition of a cultural historian: one who examines the impact of a broad range of topics–literature, art, movies, music, tradition, communication, values, rhetoric, humor, and fusion in a society. It is my sincere hope that this book contributes to a frank discussion about the hardest of all hard topics in America–race. I believe our goal should be to concentrate on access for the mass of blacks into the American economic mainstream.

In your book, you present a great deal of historical research that most of us never heard in our school history classes about the open hypocrisy of Northern and Midwestern states–dating back as far as the 1700s–of extreme racist attitudes toward blacks. Instead, the history that has captured the nation’s interest has, for the most part, emphasized the racial atrocities of the South. Why has this discrepancy largely remained a well-kept “secret”?

One has only to look at the quotes at the opening of the book’s chapters to recognize how white Northern racial attitudes have frequently been overlooked:

  • White abolitionists “best love the colored man at a distance.” – Samuel R. Ward, Black Abolitionist, 1840s
  • No free Negro, or Mulatto, not residing in this state at the time of this constitution shall come, reside, or be within this state. – Oregon State Constitution, 1857
  • The New York Times, Feb. 26, 1865, in the text: “The negro race…would exist side by side with the white for centuries being constantly elevated by it, individuals of it rising to an equality with the superior white race.”

The white North has almost no exposure to its true historical racial attitudes. White Northern racial hypocrisy and self-righteousness has resulted. Historians extol the abolitionists but neglect the anti-black attitudes that doomed Reconstruction, created a containment policy of keeping blacks in the South, and trapped them in combustible urban ghettos. The drama of the civil rights movement in the 1960s was particularly visual and suited for television; millennials have seen countless clips of Birmingham hoses and dogs, etc. I have found that “going local” is effective in creating awareness for Northern audiences. When in Connecticut, include Connecticut’s past.

You state that, despite decades of political advancement, economics gains and the passage of civil rights legislation, “the practical task facing America is the economic elevation of the black community–desperately for the underclass and significantly for the fragile (but growing) middle class.” To that end, you emphasize the importance of personal responsibility and assimilation into American society. Explain why you believe this idea is so important.

America’s unique strength, its ability to foster the “right kind” of assimilation, allows its people to retain their cultural heritage. We are the only grand experiment of a multiethnic country that does not resort to tribalism. At the same time, we have seen no successful large scale self-sufficient economic group within America, able to function outside the economic mainstream. The acceptance of common values–color-blind middle-class norms–is a prerequisite for mass entrance into the economic mainstream.

In a competitive global marketplace, individuals must aspire to resiliency, a byproduct of personal responsibility.

You cover many government programs that have been implemented through the years to help African-Americans raise their standards of living, often with little progress. Why do you think it’s been so difficult to find lasting solutions toward economic progress?

Gene Dattel

Gene Dattel

Large government programs are plagued by bureaucracy, inefficiency, and most importantly, lack of accountability. I would argue, if a program is not working, change it or reduce it; if a program is working, expand it. I describe several small programs that are successful but cannot be replicated on a mass scale.

We need to understand and speak about the currently taboo topics of black culture and structure. The only way to move forward economically is to develop viable structures for family, church, and community. Education, the portable credential for employment, largely depends on these influences. Education provides the skill set and thought process for success. Or, in the words of New Jersey Sen. Cory Booker: “My mom and dad were constant mentors, my first and greatest teachers….[From my father] I learned the connection between hard work, discipline, and reward.”

Part of America’s problem in finding racial unity, you say, has been a “hypersensitivity” to real or perceived “slights” that seem to be arising more frequently, especially on college campuses. Why is this, and how can these be dealt with constructively?

Today’s iteration of multiculturalism fosters and encourages differences, to the detriment of what Americans have in common. Our inability to discuss real or perceived sensitive topics further inhibits dialogue and promotes separatism. Greater contact and discussion in a responsible, objective way is the best way to achieve trust. College is supposed to be the proper venue for challenging and preparing students for life and exposing them to a diversity of ideas. The interaction with different opinions promotes resiliency and should be pursued on an individual basis.

Despite hopes that an Obama presidency would help heal some racial divides, you state that “racial divisiveness is more evident now than it was when Obama took office.” To what do you attribute this change?

The racial divide had already been set in motion before the Obama presidency. Powerful forces–multiculturalism, frustration at the ineffectiveness of many programs, social media, separatism as expressed in identity politics, economic recession with a weak recovery, and the lack of a frank racial discussion–were at work. President Obama’s leadership could not produce the necessary unity given these factors.

You speak of a racial mindset in this country that seems to be heading more toward separatism than the defining goal of integration in the ’60s. Explain what that ultimately means, and what your hopes are for our future.

As of the end of 2016, the overall numbers for black progress in education and economic well-being were disheartening. The poverty level of blacks has remained three times that of white for the last 45 years. Also, 32.9 percent of black children under the age of 18 live in poverty. Only 38.7 percent of black children under 18 live in a two-parent family. Black Americans’ college majors, according to a 2016 Georgetown University study, “tend to be low earning.”

As we move int a stage of self-imposed, heightened racial identity, the goals of integration and assimilation become loaded terms with negative connotations. This separatism is highly detrimental in accessing a proper education, combating poverty, and attaining economic parity.

As for the future, we must remember America’s strength. Where else could a man, whose father was Kenyan and whose mother was a white American, become president?

Gene Dattel will sign copies of Reckoning with Race on Monday, November 13, at 5:00 p.m. at Lemuria.

Author Q & A with Beth Ann Fennelly

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (October 15)

Beth Ann Fennelly, poet laureate of Mississippi, once again stretches her literary abilities with a new release she calls “a true hybrid.”

The Oxford author who has netted a considerable number of writing awards and accolades as a poet and novelist captures the attention of readers in a fresh, new approach with Heating and Cooling: 52 Micro-Memoirs, with entries that range from one sentence to five pages.

heating & coolingThe micro-memoir, she has said, “combines the extreme abbreviation of poetry, the narrative tension of fiction, and the truth-telling of creative nonfiction,” in works that include “memories, quirky observations, tiny scenes, (and) bits of overheard conversations that, with the surrounding noise edited out, reverberate.”

Writing micro-memoirs, she said, was “liberating” after she had co-authored The Tilted World, a novel that required extensive research, with her husband Tom Franklin. “After living in the heads of characters, now my own thoughts, my own experiences, seemed newly fresh,” she said.

Additionally, Fennelly has published three poetry books: Open HouseTender Hooks, and Unmentionables, and a book of nonfiction Great with Child. She’s won grants from the Mississippi Arts Commission (three times), the National Endowment for the Arts, the United States Artists, and a Fulbright to Brazil. Her work has won a Pushcart Prize and was included three times in The Best American Poetry Series. She was also the first woman to claim the University of Notre Dame Alumni Association’s Griffin Award for Outstanding Accomplishments in Writing.

Growing up in a suburb of Chicago, Fennelly said her first love was poetry, which she studied at the University of Notre Dame, earning first a bachelor’s degree magna cum laude in 1993; and a Master of Fine Arts from the University of Arkansas in 1998.

An English professor in the MFA program at the University of Mississippi, Fennelly has been named Outstanding Teacher of the Year. She and Franklin, also an English professor at Ole Miss, are the parents of three children.

At what point in your life did you discover that you were a writer?

I was always an artistic kid, loving the theater and music and reading and writing, but I didn’t know I wanted to be a writer until I got to college. That’s where I experienced my first truly great teachers and was exposed to contemporary poetry. In my high school, we only read the classics. I think that’s one reason why I take my job as a college professor so seriously–I know how an engaged teacher can turn a student’s life around.

Poetry is a different kind of writer’s challenge. How were you drawn to poetry?

Beth Ann Fennelly

Beth Ann Fennelly

I was drawn to the dynamic compression of poetry, almost like a chemical reaction–how can so few words trigger such a big response? Also, I was, and still am, in love with the sound of words, their mouth-feel, as wine enthusiasts say. It’s a huge pleasure to take a poem into your body through memorization and release it back into the world with the air that rises from your windpipe.

Your newest book is a nonfiction collection of brief personal thoughts, idea, and memories, along with several short essays. They deal with family, marriage, fears, triumphs, nostalgia, and hopes. Was this a collection you have gathered through the years, or did you write these specifically to be published as a book?

Before I published this book, my husband and I wrote a collaborative novel. Called The Tilted World (HarperCollins, 2013), it was set in the flood of the Mississippi River in 1927, and it ended up being a big project. Although we’d each published four books, we’d never written one together. In addition to teaching ourselves how to collaborate, we had to do a lot of research. And it was high stakes: We spent four years writing the novel. Imagine, if it failed, how costly that would have been for our marriage.

Luckily, it didn’t fail. After we returned from our book tour, tuckered, I wasn’t sure what I wanted to write next. There followed a long, frustrating, fallow period in which I wasn’t writing. I mean, sure, I was scribbling little thoughts and ideas in my notebook, but nothing was adding up to anything. Many of my scribbles were just sentences, or a paragraph, the longest just a few pages. I kept complaining to my patient husband that I was “not writing.”

Eventually, however, it occurred to me that I was enjoying this scribbling in my notebook. After the high stakes, research-heavy, character-embedded-thinking of the novel, my own life seemed rich material again. The little memories or quirky thoughts or miniature scenes I was creating seemed refreshing.

So, strangely, I identified the feeling of writing before I identified the activity. I thought, “What if this ‘not writing’ I’m doing actually is writing, and I just don’t recognize it because it doesn’t look like other writing I’ve done? What if I need to stop waiting for these things to add up to something, and realize maybe they already are somethings, just small? Once I’d recognized the form and gave it a name, the micro-memoir, I realized I was almost done with a book.

Today, you and Tom are professors in the English department at Ole Miss, where you teach poetry and nonfiction writing–and where you have been named Humanities Teacher of the Year and College of Liberal Arts Teacher of the Year. What do you enjoy most about being a teacher?

I really like working with young adults–I think they keep me young in certain ways, because I’m always getting exposed to new ideas. I love the feeling of being in love with a book or an author, and not just conveying my own passion, but kindling that same passion in my students.

Books have been such important companions to me, and reading has schooled me in empathy and reflection. These are skills the world isn’t encouraging in our young people. I’m honored that I get the chance to share the transformative power of literature with them.

In 2016, you were named poet laureate for the state of Mississippi. What are your duties that go along with that?

I’ve just finished the first year of my four-year term, and I’ve had a blast. I’m interested in getting poetry in front of as many Mississippians as possible, especially children. The position is honorary in that there’s no salary involved, and therefore my “duties” are probably more “suggestions,” but I’m traveling to a lot of libraries and schools, and I’m deeply involved in our state’s Poetry Out Loud program, which I think every high schooler should be a part of.

Beth Ann Fennelly will be at Lemuria on Thursday, November 9, to sign and read from Heating and Cooling. The signing will begin at 5:00 p.m. and the reading will begin at 5:30.

‘Live from the Mississippi Delta’ provides a front row seat

By DeMatt Harkins. Special to the Clarion-Ledger Sunday print edition (October 15)

No matter how well one may know Mississippi, more layers, subcultures, and haunts appear. They prove endlessly fascinating from a historical, literary, culinary, or musical perspective. In her first book, Live from the Mississippi Delta (University Press of Mississippi), photographer Panny Flautt Mayfield shares her snapshots encapsulating all of these in the greater Clarksdale area.

live from the ms deltaWhile the Coahoma County seat may not be a booming metropolis, the camera-wielding Mayfield frequently found herself in the right place at the right time, during culturally significant events and times over the past 30 years. Her casual stream-of-consciousness photo journal lets the reader in on the energy, with the perspective only a local could provide.

Clarksdale functions as one of the more important blues towns in a state filled with many. Famous native sons include John Lee Hooker, Son House, Ike Turner, and Sam Cooke.And Muddy Waters, W.C. Handy, and Robert Johnson lived there as well. On those shoulders stands a world-renowned musical legacy that supports an enduring local music scene and pilgrimage destination.

This is what Mayfield documents. She exhibits the role Clarksdale and surrounding radius palys in blues past and present–intertwining people, events, and locations, decades and miles apart.

Two excellent sources of material prove to be the town’s Sunflower Blues Festival and King Biscuit Blues Festival in neighboring Helena, Arkansas. Mayfield’s tome displays excellent shots of stalwarts Bobby Bland, Albert King, Little Milton, Denise LaSalle, Jessie Mae Hemphill, Charlie Musselwhite, Otis Rush, Koko Taylor, Pinetop Perkins, Junior Kimbrough, and Honeyboy Edwards–each pictured in the throes of performance.

But Mayfield has also witnessed another level of visitor to the vicinity. She covered John Fogerty and Pop Staples attending Charley Patton’s headstone dedication in Holly Ridge. When famed Smithsonian archivist Alan Lomax returned to Clarksdale after years and years, Mayfield captured him sitting down to hear a picker. She was also on hand for sitting President Clinton’s walking tour of downtown Clarksdale. ZZ Top invited the national press to Mississippi. They were kicking off a million-dollar campaign for the Delta Blues Museum. Guess who was front and center?

Perhaps most stunning of all is Mayfield’s friendship with Robert Plant. The Led Zeppelin frontman’s academic fascination with blues music has manifested in a series of trips to Clarksdale. Throughout the book, Plant pops up, letting the golden locks hang low in practical anonymity. His rapport with Mayfield eventually landed her at his band’s 2007 London reunion concert, depicted in the concert film Celebration Day.

While undeniably interesting, global luminaries are not the appeal of Live from the Mississippi Delta. As Mayfield demonstrates, the magic is in the local mainstays. As the first black disk jockey in Mississippi, Early Wright’s Soul Man Show on WROX–replete with impromptu ads and PSAs–endeared listeners for decades. When he wasn’t opening NAACP chapters across the state, WAde Walton cut multiple generation’s hair. Mrs. Z L Hill ran the Henderson Hotel boarding house for 53 years and even hosted John F. Kennedy. The after-school blues students of Johnnie Billington flew to Washington, D.C. to play at the White House.

However, Mayfield provides more neon than neoclassical. She places the reader in the middle of Clarksdale’s finest music venues. From the dance floor, one can observe the likes of The Jellyroll Kings, Super Chikan, or Bilbo Walker playing Smitty’s Red Top Lounge, Margaret’s Blue Diamond, or the Bobo Grocery. And as the photos make clear, the stars of the evening are not always on stage.

In Live from the Mississippi Delta, Mayfield serves as her own acoustiguide. Sometimes the narrative explains the picture, other times the photo illustrates a point. Regardless she delivers an engaging look into multidimensional Clarksdale and the pleasure it holds.

DeMatt Harkins of Jackson enjoys flipping pancakes and records with his wife and daughter.

Panny Flautt Mayfield will be Lemuria on Wednesday, November 1, at 5:00 to promote her book, Live from the Mississippi Delta.

Author Q & A with Jennifer Egan

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (October 8)

manhattan beachPulitzer Prize-winning author Jennifer Egan’s newest release Manhattan Beach (Scribner) combines historical fiction with all the elements of a thriller-mystery and a touch of humor as she successfully tackles a World War II tale whose home base is Manhattan Beach in New York.

It’s a wide-spanning story of a family’s struggle to make ends meet as they attempt to make sense of the culture shift of a country at war and the realities of  the long-time disappearance of a husband and father who has vanished for reasons unknown. Well-researched and overflowing with a theme of water that runs throughout, Manhattan Beach is a satisfying and more traditional story from a writer whose trademark has become keeping readers wondering just what she can and will do next.

Along with her Pulitzer-winning A Visit from the Goon Squad, she is the author of four other books of fiction. Her work has also appeared in The New YorkerHaper’s Magazine, and The New York Times Magazine, among others.

Please tell me about your roots in Chicago, where you spent your earliest years.

Jennifer Egan

Jennifer Egan

On my father’s side, my family is proudly Irish-American, and has been in Chicago for generations. My grandfather, Edward Egan, was a police commander on the South Side, and also President Truman’s bodyguard when he came to town. Edward Egan had three sons, the second of whom was my father. The eldest, Eddie Egan, was killed in a motorcycle accident as a teenager–a tragedy that, of course, marked the family thereafter.

As a little girl, I used to talk with my father a lot about lost Uncle Eddie. It was a great pleasure to use his name in this book, and to dig deeper into my Irish-American heritage–the closest thing I’ve ever felt to an ethnic identity.

Manhattan Beach portrays a father/daughter relationship that plays out against the backdrop of World War II. Does it reflect anything personally about your own family, or can you elaborate about what inspired this story?

My mother and father divorced when I was 2, and I don’t have any memories of them together. As a little girl, I spent every Sunday with my father, but at 7, I moved to San Francisco with my mother and stepfather. I saw him only in the summers after that, and I feel like I stopped knowing him, and he stopped knowing me.

I have two sons, now teenagers, whom I’ve been very reluctant to let go of as they begin to move more deeply into their own lives. A lot of that personal experience–dealing with loss, as a child and as a parent–is in here, somehow. In my books, the personal is always scrambled.; it’s only as  finish a book that I begin to sense its connections to my real life.

How closely do the lives of characters in Manhattan Beach mirror that of the correspondence you found between the couple who worked at the Brooklyn Navy Yard during the war?

The young couple whose correspondence I read, Lucille and Alfred Kolkin, had many things in common with my characters int eh context of the Brooklyn Navy Yard. Lucy was a shipfitter, meaning that she helped to create the metal parts of ships; my character, Anna, becomes a civilian diver. Jobs like those would have been unthinkable for women before the war. Lucy and Al’s social world would have been somewhat different from Anna’s, though; Lucy and Al were Jewish, for one thing, whereas Anna’s family is Catholic. Anna’s father’s involvement with the Irish waterfront gave him a proximity to organized crime that would likely have alienated Lucy and Al, although they were strongly involved in union organizing.

And finally, Lucy seems to have been what was known as a “good girl”–she quipped in a letter to Al that the story their courtship could have been summarized: “From Maidenhood to Marriage in Three Easy Months.” Even at 19, Anna’s sexuality is more developed, and therefore a secret.

Anna, a main character in Manhattan Beach, fought the male-dominated era in which she lived, and became a diver helping repair ships from underneath. What does that show about her, and was there a message there for readers?

I’m not a big fan of messages in fiction. As a reader, I dislike being preached to, but I suppose one could probably take away from the novel what much of America learned during World War II: women can do just about anything, and do it well. That is a threatening notion to some.

Manhattan Beach is one of two October selections for Lemuria’s First Editions Club. Jennifer Egan will be appearing at the Eudora Welty House to sign books at 5:00 p.m., on Tuesday, October 10. The reading will begin at 5:30 p.m.

Author Q & A with Nathan Englander

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (October 1).

Brooklyn resident and Long Island native Nathan Englander packs love, violence, allegory, and political intrigue into his second novel, Dinner at the Center of the Earth (Knopf), as he presents readers with a plot-driven literary tale that examines the current state of of the peace process-or lack thereof–between the Israelis and Palestinians.

A thought-provoking read to say the least, the book reveals Englander’s own take on the ongoing political battle–and it’s a personal one. Growing up Jewish in New York, his angst over the lack of progress between the two camps led to his own five-year retreat to Israel, which he spent examining first-hand the seeming futility of any effort to bring the two sides together.

Nathan Englander

Nathan Englander

His previous works include What We Talk About When We Talk About Anne Frank (winner of the Frank O’Connor International Short Story and finalist for the Pulitzer Prize); and the novel The Ministry of Special Cases. His short fiction has appeared in numerous anthologies.

Englander is Distinguished Writer-in-Residence at New York University and lives in Brooklyn with his wife and daughter.

In the ackowledgements at the end of your book, you thanked the city of Zomba, Malowi, where some of the writing process of Dinner at the Center of the Earth took place. Please explain why that was important to you.

Zomba played a part in the rewriting of this book. I lived there last year with my family, and I found that composing in a place so radically different from the one in which I live helped me to see my own life–my reality–with fresh eyes, which, I deeply believe, helped me to do the same inside the book’s world, where I was spending most of my time.

In what ways did your four–or what it five?–years living in Jerusalem before the intifada in 2000 prepare you to write Dinner at the Center of the Earth?

It was five years. And a year of college long before that, and some stretches here and there in between. That time was less what prepared me to write the book, and more what drove me to do it. I’ve really wanted to tell this story for near 20 years.

But, I hear the question (why?), and I have an answer. And that is, when I was living in Israel, I came to understand that solving the conflict between Israel and Palestine wasn’t just about bridging the gap between two peoples who hold two different positions of some argument. A real solution would mean bridging the space between two different worlds. That is, I was a Jewish person living in Jerusalem, and my Palestinian neighbors in the exact same place were living in al-Quds. We’re dealing with multiple realities, not differing opinions.

I read that you wanted to write a book that “weaved time and threads.” Describe how the complexity of the Israeli/Palestinian conflict, and its seemingly unsolvable issues, prompted you to bring that approach to life through this book.

Central to that conflict, and central to my heartbreak over the failure of the peace process, are the endless cycles of violence, the buildup, the warring, the truces and quiet times–which both sides then use to build up and ready themselves for when the fighting starts all over again. I really wanted to write a novel whose structure captured that spiral, and reflected those rhythms.

This seems to be a book that would be good to read over again in order to understand the timeline and grasp its full meaning. Was that your intention?

dinner at the centerIt’s nice of you to ask. And, I promise you, I’m truly thankful for the people who invest in reading this novel once–that’s already a gift for a writer, and I ask no more. I can tell you that I worked hard to build a book you could just sit down and read, a linear novel that also happens to wrestle with age-old conflict and has many different plot lines, all running concurrently.

I think of your question in terms of a certain kind of reader–of which, in asking, I assume you are one–and I think, if this book has a certain life, and some nice graduate student somewhere wants to take it apart with a screwdriver and see how it ticks, I hope he or she will find something in the mechanics of it. I sure spent a lot of my time trying to make the thriller-historical-love-story-allegorical elements all jibe.

I loved what you did with the dream sequences of the General, whom we assume to be Ariel Sharon. Were there actual events for his life that led you to imagine these dream events? The endless falling with his radio operator after the explosion was especially intriguing.

Am I allowed to say that I love your questions? I love your questions! For one, it was imperative to me that my character, the General, be read as the General, not Ariel Sharon. As for parallels to Israeli-Palestinians history, I drew off many events for the reality the general is living in his mind. But you’re asking about the radio operator and the flying. This novel, unlike my last, is set in places I’ve lived, and addresses parts of history that are woven into my own memory, and central to my education, and have shaped my worldview.

What I’m trying to stress is that I bought a lot of books to study, but ended up doing very little research, and never opened most. I’d read a paragraph, and my mind would start spinning, and I’d start typing. Anyway, a doctor friend I’d called to ask about comas and minimally conscious state either shared this fact with me, or it appeared in the first couple of paragraphs of some scientific paper somewhere that I clicked on, but I fell in love with the idea that people who come out of comas often remember that they had dreams of flying. It just changed me, as soon as I learned that.

Were prisoner Z and the guard based on actual people, or were they fictional characters to move the plot and tell the story?

The guard popped into my head in the same way that Ruthi did–which is, out of nowhere. Speaking of consciousness, I literally have no awareness of how they suddenly came to be.

Prisoner Z is a character I can trace through my imagination. I was in Israel on a book tour, and on the last day, I picked up the morning paper and there was this story of an Israeli prisoner called, only, X. He was found dead in his cell. The extremely complicating factor was that he was a secret prisoner so, prior to his death, he had not existed. And prior to there being a cell with a ceiling from which to hang himself, there was no cell at all. That is, it was only with his death that he’d lived, only with his hanging that there was a cell to hang himself from.

When I read that X was a Mossad spy who’d become a traitor, I began thinking of all the reasons that spies become traitors: blackmail, failures of character, hunger for power, etc., etc. And I thought, what about a spy who becomes a traitor through empathy? Someone who flips because of his feelings for the other side. And that’s how, in that moment, a character is born. How, for me, an X becomes a Z.

Prisoner Z states in one his letters to the General that the only way for Israel to end the conflict was to lose and cede ground to the Palestinians. Is this an actual idea shared by some in Israel?

I’m sure, if folks think it, they don’t use the term “losing,” and it’s not about a notion of surrender. A novel delivers a pressurized form of reality–a world as real as the one we’re in, that manifests in a heightened way. Even as far off as it seems today, I bet there are plenty of people who still believe that pulling out of enough territory for there to be viable states, side by side, is the best way to achieve peace.

Tell me about the title of the book. Did it come to you as the story unfolded, or did you have it from the start?

Firstly, I’d like to note that the titles of my books are always extraordinarily long. And maybe I should pick shorter ones, since I’m so shy when folks ask me what the names of my books are called. I think, in every case, I’ve found the title of the book inside the story itself.

Do you have plans in the works yet that you can share about your next writing project?

Sure. Yes. I think the early part of one’s writing life is extra stressful because you haven’t yet fallen permanently behind. Once you’re drowning in projects you’re dying to pursue, what-comes-next is always right there.

So, as much as Dinner at the Center of the Earth is a book that took me far from the imagined worlds where I started, the next novel swings me back to where I began. I wanted to return to that space, where I explore the boundary between sacred and profane, religious and secular. Also, I’ve got another play in the works, and a non-fiction book, and some other things cooking.

Come ‘explore’ the possibilities with Katherine Rundell!

Katherine Rundell

Katherine Rundell

Lemuria is excited to welcome Katherine Rundell to Jackson, Mississippi on Friday, September 29th. Rundell’s books are modern classics: the moment you begin reading them, you are transported into the story she is telling.

Her first novel, Rooftoppers, is the story of a girl who is rescued from a sinking ship, and she is found floating in a cello case. Many years later (with her adopted father), they set out on a search for her mother that leads them to the rooftops of Paris where a community of children run free during the night. Fans of Brian Selznick’s The Invention of Hugo Cabret will enjoy Rooftoppers.

Cartwheeling in Thunderstorms is a Boston Globe Horn Book Award Winner, and is a modern day retelling of A Little Princess. When Wilhelmina Silver is left an orphan, she is sent away from the wild African savanna she’s grown up loving to a cold boarding school in London where she is mercilessly teased by the other girls. She runs away, and must find a way to live on the streets of London.

Rundell’s third novel, a snowy tale with hints of Little Red Riding Hood folklore, is Wolf Wilder. Wolf Wilder is about a girl named Feo and her mother who are “wolf wilders.” That is, they train wolves to survive the wild after they are no longer wanted as pets by the nobles in St. Petersburg, Russia. When Feo’s mother is taken captive by the Tsar, it is up to Feo (and her wolves) to save her. Each of Rundell’s stories is unique, heartwarming, and exciting. Her characters are larger than life, and she truly understands the way children interact with the world.

explorerIn her newest novel, THE EXPLORER, four children ride a small plane to Manaus, Brazil. When the plane goes down in flames, the four children, Fred, Con, Lila, and Max survive the crash, but they must survive the Amazon Jungle as well. Between poisonous plants, giant bugs, and biting fish, will they make it to civilization again?

Rundell, who is a Fellow at All Souls College, Oxford, grew up in Zimbabwe, Brussels, and Belgium. Her love of travel is infused within the places she writes about in her books. After visiting the Amazon Jungle, Rundell was compelled to write THE EXPLORER. She says that her inspiration to write THE EXPLORER was to write a story “about children performing acts of extraordinary courage against all odds” and that she wants “to encourage children to be an explorer, no matter where [they] are.”

Meet Katherine Rundell, all the way from England, on Friday, September 29th, from 5:00 – 6:00 p.m. at Lemuria Bookstore. Call to reserve a signed copy of THE EXPLORER today! 601.366.7619

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Author Q & A with Rosemary Wells

Interview with Rosemary Wells by Clara Martin.

In the world of children’s books, there is a duo named Max and Ruby. They are bunny siblings: Ruby is the older sister who is very bossy, and Max is her little brother who is always up to mischief. The Max & Ruby series spans over forty books and now have their own television show on Nick Jr.

rosemary wellsTheir creator, Rosemary Wells, has been writing and illustrating books for over 45 years. She began working in publishing as a book designer for seven years. All through her writing and illustrating career, from her picture books to her young adult novels, Rosemary Wells advocates for children’s literacy wherever she goes. Born in New York City and raised in rural New Jersey, she now resides in Connecticut.

Lemuria Books is thrilled to welcome ROSEMARY WELLS, the author of MAX & RUBY for a story time and signing on MONDAY, OCTOBER 2ND from 3:30 – 4:30 pm. This story time is free and open to the public!

A presentation given by Rosemary Wells that is geared towards adults & educators will run from 5 pm to 6 pm, and a RSVP is necessary. To RSVP, please call Lemuria Books at 601-366-7619.

In an interview below, Rosemary Wells talks about her own characters, her illustration process, and the importance of reading books aloud to children.

What drew you to stories about toddlers and young children?

I can’t really tell you why. Perhaps because I had young children around me, and still do. I find them hilarious. My own childhood–I was as a tomboy, a very dedicated artist, and utterly non-compliant with what I didn’t like in school–also added to this. It always does in authors. We go back over our own lives and see, in the new lives around us, many of the same traits and predicaments.

However, I have also written 4 books for middle grade readers and 7 novels for YA!

Tell me a little bit about Max & Ruby (and your other characters).

What I really love is the sibling dynamic. It is so real. Max and Ruby are my own two children. This is how they constantly behaved with each other when they thought I wasn’t present or listening to them. Ruby never stopped guiding Max in all the ways of the world that Max had to learn. Max never took anything she said seriously. Never listened to a single word she said. This is a story dynamic which never ran out on me. It is a universal sister/brother routine in all countries in the world. That’s the reason the parents aren’t in the stories. None of the funny stuff would happy with Mom or Dad there. So where are they? In the next room, listening!

felix stands tallMy equally favorite character is Yoko. My next book is another Felix and Fiona melodrama friendship book from Candlewick. And next year, I have a book from Macmillan that introduces new characters, Kit and Kaboodle, twin pussycats and their little nemesis, Spinka, the mouse.

Why are you drawn to drawing animals to represent your children?

I draw animals better. People love animals, particularly young ones. That’s why we take stuffed animals too bed—not so much stuffed people!

Children depicted in illustration cannot do what animals can do on a page. Nor do they engender as much humor or sympathy unless drawn by Garth Williams! Kids are more serious to draw and elicit more reader questioning.

Can you tell me about your illustration style & process?

I wish I could answer this better. I draw. I’ve put in my 30,000 hours! I use mostly watercolor but have branched out to pastel. I copy. What I can’t draw well, I copy out of books. When I need inspiration, I look to the great illustrators and commercial artists of the early twentieth century. Trademarks, advertising, etc.  I encourage all my young artists in my workshops to concentrate, copy, and revise. Revise everything, because each time you do it again, the work gets better.

What do you love about writing and illustrating books for children?

It has endless possibilities. It’s what I do really well. It has been and continues to be a very successful career for me. I never tire of it because each book I do is alive. When they stop being alive, then I will stop. Not until then.

What were some books that made an impact on you as a child, and what do you hope your books do for children today?

We had very few books in the 1940s and 50s compared to today. Robert Lawson, Beatrix Potter, Garth Williams, who else? I don’t know. I copied them all. Lavishly illustrated fairy tales. We read them again and again. As a writer, I think that made me realize I better write books to be read over and over.

This is why I know for a fact, that although I had a golden childhood, safe from want, harm, and discord, that my great escape was books. No matter where we are on life’s scale, we need escape. Kids eat it up and they get it best from books. (worst, I have to add from video games, which are toxic and free of any moral compass or other good outcome.)

We need to read real books (not tablets) to our babies, starting very early in the first year of life.

The one great privilege that fortunate, advanced kids have over the less the fortunate is reading-aloud parents and regular visits to the library.

So, if we read to our children twenty minutes every day, they will listen to us, learn from their many books more than we can ever imagine.

When they reach kindergarten, no matter how underserved their childhoods, those children who are read to all the time will be the level equal of any privileged child in their school. They will be prepared to learn and advance in school. If you read every day aloud, you can almost guarantee your child’s bright future.

There are very recent live MRI scans of children’s brains while being read to. The critical development of the brain takes place in the first five years of life and apparently nothing stimulates it into permanent growth like read aloud stories in the parents’ voices. This treasure of childhood, reading aloud requires only a library card.

Books taught me to think in ways neither my parents not my teachers ever taught me. This is why it is so important that we encourage the next generation to be readers. We are in a national crisis in our country today. My two cents is this: We don’t need any more followers in America today. We need leaders. Real leaders are critical thinkers. They become critical thinkers from reading everything, things they agree with and things they don’t. Our kids need this cognitive training in order to become good citizens. Good citizens are independent. Good leaders understand the difference between facts/science and made up fairy tales that are narrow opinions and lead nowhere. If our country as we know and love it is to survive, the leaders of our next generation need generosity of spirit. While very young, the leaders of tomorrow have to learn to be patient, inclusive of those unlike them, kind to the less fortunate, courteous, curious, and able to dream a better world for all of us, not just for self.

Much of this comes from good parenting and educating. The rest comes from books.

Meet Rosemary Wells at Lemuria Books on Monday, October 2nd!

3:30 – 4:30 p.m. Story Time & Signing

5:00 – 6:00 p.m. Rosemary Wells Presentation on Literacy*

*Adults Only, Please RSVP at 601-366-7619

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Jamie sings the praises of ‘Sing, Unburied, Sing’

Since I’ve been working at Lemuria, I’ve self-imposed a  rule of not writing about a book till I’ve finished it.

I am currently breaking that rule. Demolishing it. Splintering it without a shadow of hesitation or guilt.

sing unburied singJesmyn Ward’s Sing, Unburied, Sing is lots of things:  brilliant, gorgeous, haunting, raw, tender, honest. Much like her National Book Award winner Salvage the Bones (a personal favorite of mine­), Sing takes place in an impoverished area of the Mississippi Gulf Coast. Both books’ characters find themselves in a mix of relationships—familial, internal, romantic—yet Sing is in no way a cookie-cutter redux of SalvageSing shifts through various first-person narrators, and does so in a way that’s easy to follow.  If you’re having nightmarish flashbacks of Faulkner, don’t: these leaps between characters (mostly the 13-year-old, endearing Jojo and his difficult mother Leonie) aren’t pretentious displays of cleverness for its own sake. One of Ward’s gifts as a writer is a conspicuous wedge of human empathy. By getting into the mind of Jojo, we see his desire for toughness and tenderness, his need to be protector for his younger sister Kayla, and his longing to be a surrogate father for Kayla the way his own grandfather is for him. While Jojo lends us his frustration at his absent mother, the chapters from Leonie’s perspective help round her character. Her drug use isn’t entirely selfish—it’s her way of self-medicating the hurt of the violent death of her older brother. We see her doubting her own abilities as a mother, cursing herself, but trapped in her own self-doubt so as to prevent her from risking connection with her kids. Ward isn’t necessarily excusing Leonie’s behavior so much as she is explaining it, and showing us the complexity of the human heart in conflict with itself, to steal a phrase from Faulkner.

Ward’s fiction and nonfiction shows us the importance of personal, familial history, and how things from previous generations aren’t really all that previous. Her memoir Men We Reaped illustrates the struggle of generational poverty and quiet, systemic racism perfectly. The notion of inheritance manifests itself in Sing in a fascinating way: ghosts. I would never classify this novel as a fantasy/supernatural genre piece, nor do I think that is Ward’s intent. Leonie sees her dead brother, Given, but can’t hear him speak; Jojo meets his grandfather’s dead friend Richie, who tells him about their days in Parchman. The past isn’t past—another Faulkner phrase I’ll paraphrase—and the ghosts in Sing show us that.  The myriad difficulties of poverty, compounded with the burdens of racism, are hard to get away from.  They haunt their victims, float constantly over their shoulders, peek in-and-out of their vision, or sometimes present themselves in full view.

There’s probably more about the novel that this piece is missing. I’m halfway through the book, and as soon as I finish this post, I’ll open Sing, Unburied, Sing back up and skip sleep.  The book’s that good.  Now, if you’ll excuse me, I’ll get back to it.

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