Ru Freeman

It’s been a while since I’ve been able to talk books. Many things got in the way including travel home to Sri Lanka for the Galle International Literary Festival and to London for the book launch there as well as the more personal difficulties of coping with the various blows of life which I’ve written about before on this blog. The roller coasts on some days, lifts and dumps me on others, sometimes on the hour!

But despite distraction and misfortune, there is one thing that always lifts my spirits, and that is the work, well done, of my fellow writers and friends. It’s been a terrific week for a slate of terrific Bread Loaf writers, so I’m going to dedicate this post to highlighting them. There is Danielle Trussoni, whose book Angelology (Viking, March, 2010) was reviewed in the NYT Book Review on March 3rd by Susann Cokal, (author of Mirabilis and Breath and Bones.) You can read the full review - and it is so well written you should! - but here are the closing lines:

“Sensual and intellectual, “Angelology” is a terrifically clever thriller — more Eco than Brown, without the cloudy sentimentalism of New Age encomiums or Catholic treatises. It makes no apologies for its devices, and none are necessary. How else would it be possible to bring together the angels of the Bible and Apocrypha, the myth of Orpheus, Bulgarian geography, medieval monastics, the Rockefellers, ­Nazis, nuns and musicology? And how splendid that it has happened.”

Danielle’s first book was a memoir, Falling Through the Earth, about her father who spent time as a “tunnel rat,” i.e. searching below ground level for guerrillas during the Vietnam war. That was the one from which she read when I first heard her at Bread Loaf and she was amazing then.

Eugene Cross (my fellow staffer, friend and “baby-bro,” BG), has a story, ‘430,’ out in Freight Stories as well as in Story Quarterly. Here are the opening lines:

“Route 430, a weathered run of highway, twisted through Clymer County like a dark river. Roddy Daniels knew its turns by heart. This was in western New York, where the state made its border with Pennsylvania in a sharp right angle. Roddy had lived here his whole life. Sometimes at night he would drive 430 and close his eyes for short stretches and let the road lead him.”

But that is not all for BG. He also won the 2009 Dzanc Prize which is given to a writer of literary fiction to further their work-in-progress while also being involved in their communities. BG will be setting up and running a series of creative workshops for refugees from Nepal, Sudan and Bhutan, in Erie, Pennsylvania. If you scroll all the way down on this post titled The Lush Life of Bread Loaf, you can actually listen to BG read from his story, ‘Hunters,’ which appeared in Hobart.

Tiphanie Yanique, who shared a few years of work with me at Bread Loaf all of which included blood, sweat and tears as well as writing, has her collection of short stories coming out this month. How to Escape from a Leper Colony (Greywolf Press, March, 2010), has been described by Chitra Banerjee Divakaruni (author of Sister of my Heart and The Palace of Illusions), thus: “In these powerful, poetic stories set in landscapes real and imagined, Tiphanie Yanique explores beautifully race, family, and the complicated movements of the heart.” You can read the title story here, but here are the opening lines - it also happened to have won the Boston Review Prize in 2006:

“The nuns said that it was pardonable because of depression and stress. But these are words used when we want to forgive a crime but know we cannot. Babalao Chuck said that young Lazaro was covered in his mother’s blood and body. Her red sari redder. The gun in the volunteer’s hands. Five shots in a young mother’s back leaves little room for sympathy. The volunteers at the leper colony were Trinidadian doctors and British journalists and criminals forfeiting time in jail for time among lepers and sometimes smooth-faced men who carried tiny Bibles in their pockets. No one ever told me which kind killed Lazaro’s mother.”

Dolen Perkin-Valdez who pledged a first $100 to an effort by two other writers (Mary Akers and Sara C. Harwell) and myself to establish a writing colony for mothers, had her first novel, Wench, (Amistad, January, 2010) come out to some pretty great reviews including a spot on NPR, a space she shares with another Bread Loaf former-waiter, Reginald Dwayne Betts, author of A Question of Freedom: A Memoir of Learning, Survival, and Coming of Age in Prison (Penguin/Avery, 2009), and Shahid Reads His Own Palm (Alice James Books, forthcoming 2010). Dwayne’s essay in the Washington Post begins this way:

“When I was 16, I pleaded guilty to carjacking a man in a mall parking lot. In 30 minutes, everything can change; that’s what I learned from a wild night with a pistol.

Two years later, in July 1998, I was staring onto an empty tier from a cell in solitary confinement. Already serving a nine-year prison term, I had wound up in the hole, too. This meant I was more than wrong. It also meant that I was the last person many would believe deserved what education an open book could offer. “

James Arthur sold his first collection of poetry to Copper Canyon Press. You can get a taste of James’ work with the poem ‘The Death of the Painter’ here in the New Yorker. Meanwhile, the indefatigable Ted Conover, a non-fiction writer among non-fiction writers, had his latest book, The Routes of Man, appear with a terrific review in the NYT. Here’s one reason why, as explained in the NYT review by Vollmann:

“I especially recommend the book’s horrifying fourth chapter, “A War You Can Commute To,” which deals with the Israeli occupation’s interdiction and interruption of Palestinian travel, the retaliatory menaces to which Israeli checkpoint soldiers are subjected and their retaliations in turn upon Palestinian homes. I wish I had the space to consider Conover’s observations, and his reactions to them, with the complexity they deserve. Instead, I will have to settle for quoting from the caption of his aerial photograph of the 60 Road, which carries settlers between Jerusalem and Bethlehem, shooting straight and very high above the S-curves of the local road for Palestinians passing between its pillars: “In much of the West Bank, separate roads carry Israelis and Palestinians. . . . A series of concrete panels on the highway’s left side, near the top, serves to protect Israeli vehicles from projectiles.”

As I read this book, I grew increasingly impressed not only with Conover’s bravery and hardihood, which he underplays, but, more important, with that quality one associates with Steinbeck: heart. Here is a man who cares about people everywhere, not merely that convenient abstraction, humanity, but people in particular — not to mention this American toad and that Peruvian sloth.”

C. Dale Young, physician, poet, editor, blogger, friend, had his story, ‘The Affliction,’ published in Guernica, one of my favorite places to linger online. Danzy Senna (Caucasia, Symptomatic, and the memoir Where Did You Sleep Last Night?), joined Porochista Khakpour to jaw about ‘Race and Other Flammable Topics’ in this month’s issue of Poets & Writers where, also, the incredibly talented (and multi-degreed), Jennifer de Leon wrote about the Voices of Our Nation (VONA) conference.

And, also in Poets & Writers, were two of my favorite Bread Loaf poets, Robin Ekiss (a former Stegnar Fellow and a recipient of the Rona Jaffe Award ), and Kiki Petrosino (Fort Red Border from Sarabande Books), profiled in the annual Debut Poets issue. To top it all, Greywolf Press, a gem among independent publishers, announced today that the poet D. A. Powell won the prestigious $100,000 Kingsley Tufts Poetry Award for his latest collection, Chronic. That’s the second consecutive year that a Greywolf author has won the award. Talking of awards, the brilliant Justin Torres won a $50,000 United States Artists Award. For a taste of Justin, check out this piece in Granta, ‘Lessons.’ I’m posting the opening lines to this story which I heard him read his waiter year at Bread Loaf.

“We wanted more. We knocked the butt ends of our forks against the table, tapped our spoons against our empty bowls; we were hungry. We wanted more volume, more riots. We turned up the knob on the TV until our ears ached with the shouts of angry men. We wanted more music on the radio; we wanted beats, we wanted rock. We wanted muscles on our skinny arms. We had bird bones, hollow and light, and we wanted more density, more weight. We were six snatching hands, six stomping feet; we were brothers, boys, three little kings locked in a feud for more.”

In April I will be reading at Sunday Salon in NYC with Dwayne Betts and three other Bread Loafers including Charles Rice Gonzalez, whose novel Chulito will be out next month - watch for a post on that - and Emily Raboteau (The Professor’s Daughter), and Nina Swamidoss McConigley whose collection of short stories will be out soon.

Also in April, in Colorado,Women in Letters & Literary Arts (WILLA), will go live at the Denver Press Club during AWP, where I will be reading with many of the women mentioned here as well as fellow Loafers, Jennine Capo Crucet (How to Leave Hialeah), Antonya Nelson (Nothing Right, Female Trouble, etc.), Cheryl Strayed (Torch), Kara Candito (Taste of Cherry), and Mary Akers (One Life to Give and Women Up on Blocks).

As I was winding this up I got an email from my agent informing me that she had just sold the rights to my book in Mainland China; an interesting development just as the book comes out in Complex Chinese next month in Taiwan, and as I prepare to head to China myself with the Iowa International Writing Program. As a way of encapsulating what the highs and lows of our lives measure, here is Robin Ekiss’ poem, ‘The Past Is Another Country,’ which first appeared in the New England Review:

The Past is Another Country

I am no longer in love with the sand
that makes the pearl, or anything

grainy that hardens its beauty
by passing through pain.

Bone revisits the porous soil
and presses itself into coal.

Whole colonies of canaries
refuse to return from that mine.

Is there anything yellower
than their dark shaft of regret?

The past is another country,
all its cities are forbidden,

their borders closed to you
on every side, while here God

has many mansions, all too small
to live in. When I inherit his palace,

I’ll take my moat everywhere,
making difficult any crossing.

Addendum: This just in. And it beats everything that has pleased me today. Josh Weil (Rachel, Libby, you guys remember the wild reading and jam after with him at Borders/Rosemont), just won the The American Academy of Arts & Letters Sue Kaufman Prize in First Fiction for the best work of first fiction (novel or short stories) published in 2009 for his collection of novellas, The New Valley. And that’s the wrap.

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I keep being pressed to write about the Galle International Literary Festival at which I was a guest. Some of the requests have been the result of simple interest in my impressions as both native and visitor, others have been somewhat hostile. I have never been an either with us or against us kind of person; frankly I think that embodying extremism of any sort dilutes and otherwise sullies creative work and I would be hard pressed to identify any writer whom I admire that is guilty of it. It has taken a while for me to reflect on the festival partly because I was in London right after the festival and have only just returned, and partly because my thoughts are complicated by a variety of conflicting sentiments which encompass both my respect for the work that is done to make it possible - and the individuals who do that work - the depth of talent among those attending both as guests and as audience and my sense that everything that we do is a work in progress and therefore could stand to be transformed so long as the transformation is advocated for in a way that leaves intact, whenever possible, the self-worth of the people responsible.

When my novel appeared in its Dutch translation, my publisher asked me to write a note to accompany its release which referred to our shared history. After ranting in the privacy of my home, I sat down and wrote a note that mentioned the fact that many Dutch public works as well as the tombstones of the old Dutch Governors are preserved in Colombo and that the journey of one of the chief protagonists begins in Matara where the Dutch fort, Van Eck, still remains. I tempered my sense of outrage with the request that, at some level, was asking me to celebrate the colonization of Sri Lanka by the Dutch, with my understanding that my modern day publisher may (a) have been unaware of the extent of her country’s involvement in Sri Lanka and (b) was not, herself, responsible for the doings of her compatriots and (c) did not intend to cause me any distress but, rather, was trying to personalize the publication of a book that was being released alongside hundreds of others, and therefore give it a little more heft. That is the nuance that tempers the black and the white.

At a festival that offered such a range of skill, expertise and intellect, I was disappointed that I was unable to attend several of the conversations and panels that I would have liked to be at, when the writers featured were excellent and there was much to learn from them. Gillian Slovo, Rana Dasgupta, Amit Varma, Shyam Selvadurai, Michelle de Kretser, Ian Rankin and Sybil Wettasinghe were all people I wanted to spend more time listening to, as they spoke formally, but with whom I did manage to have interesting and fairly lengthy conversations off-scene. Unfortunately, there were many others - Wendy Cope, Iranganie Serasinghe, Artemis Cooper and Michael Frayn among them - whose insights and perspective I missed altogether. My inability to go to all the panels/conversations had little to do with the festival organizers except to the extent that I was also trying to participate in the fringe festival - which showcased, for the most part, the breadth of local talent writing and speaking in English - which then made everything a conscious choice that posed the following question: Am I here for myself? (in which case I must go to all the panels and lectures and conversations taking place on site), or am I here for my fellow Sri Lankans? (in which case I must support them in whatever way I could, but primarily by being attentive to the events that highlighted their work, many of which were off site)

To be a Sri Lankan writer published overseas by the kinds of publishers that I have been fortunate to have, is, to me, both blessing and responsibility. The accomplishment, as I see it, is not mine alone, it is also that of the country to which I owe my particular world view; that fertile soil, rich in culture and heritage and custom and religion, which grounds me and gives me the right to say, I am a Sri Lankan American writer. I see myself, then, as an outpost of sorts, a vessel that contains all that I have left behind in Sri Lanka, and, also, as a spokesperson for others of my kind. How, then, would it be possible for me to converse and befriend my fellow predominantly foreign-based writers and not give equal attention to the writers who, based as they are in Sri Lanka, do not have access to the publishing world in quite the same way that we do? How would they get critical attention for their work if those of us who are a little further down along the road not only leave no signposts, but forget that there are others making this same journey?

As I walked around going from one session to another, I was struck also by the fact that this desire to immerse myself in the literary talents and preoccupations of a host country, even when it is my own, is probably shared by the other writers who come to Sri Lanka, in the same way they do when they go to the Jaipur Literature Festival or to the Perth International Arts Festival or the Man Hong Kong International Literary Festival. For a writer anywhere, there are two things that are manna from heaven: the company of other writers and exposure to new worlds. I would hazard a guess that writers like Slovo and Dasgupta and Adebago would be just as interested in listening to and interacting with a multi-ethnic cross section of Sri Lankan writers as well as Sri Lankan culture (a need that the fringe festival addressed whenever possible with panels such as ‘The Literature of Post-War Sri Lanka’ which featured writer and photographer Pradeep Jeganathan, journalist Malinda Seneviratne and former-soldier and writer, David Blacker, as well as the event titled ‘Stories at Sunset’ at the Closenberg Hotel which was organized by local author, Ashok Ferry, alongside the equally commendable offerings of the main festival such as the panels on art, photography and architecture and the drum and dance performances), as they would be in having meaningful conversations with each other. Indeed, such engagement is what gives a festival its particular character and distinguishes it from any other event at which these same writers may have occasion to gather together.

It is always easy to criticize an initiative that is taken by someone else. And it is easy enough to disparage the work of one or the other group of writers within a multi-language system such as ours. Slings and arrows are easy to unleash, it is the building blocks that take work and separates the slouch from the citizen and neither Sunila Galappatti nor Subha Wijesiriwardena is a slouch, clearly bringing a wealth of experience in theater and writing to their work and giving heart and soul over to managing every last detail of a large festival involving multiple personalities, some of them split! In that regard, I was disappointed by the way in which journalist Rajpal Abeynayake summarily dismissed the entire - albeit recent - canon of writing in English as being garbage. There is garbage. We all know it and we can all manage the delicate art of discussing garbage without throwing it around, in the interest of preserving human dignity. But there is also solidly accomplished writing and, more importantly, there is a serious attempt on the part of those writing in English to both reach their full potential as well as to translate into English those works from the Sinhala and Tamil canon that are translatable. (I admit I came late to this session - again, I was torn between listening to the panel on post-war literature I mentioned above and the one being facilitated by Sunila at a festival venue with Rajpal; both panelists had reached a point of testiness and there was a sort of restive fatigue apparent among the audience as well.)

The criticism that there is insufficient attention given to the work of the host country, the best of which is, probably, written in Sinhala and Tamil, is valid, but is is one that ought to be leveled with the understanding that any initiative is dynamic and changing; the festival has evolved from the first in 2007 to what it is today and will, I am certain, continue to change. I comment on this aspect of the festival, therefore, in full knowledge that this year it has grown to include genres not part of the festival in previous years both in terms of its panels and conversations but also in terms of the off-site events and the cultural and childrens’ programming, and that such changes auger well for other, even more significant adjustments to be made to the makeup of the festival next year. It is true that, as David Blacker put it in a blog post he wrote last year, this is not a “Sri Lankan literature festival.” However, it is disingenuous to refer to a festival as being “international” if it quite deliberately excludes, for the most part, Sri Lankan writing in translation, particularly when the current trend among all of the publishing giants and anyone worth their salt in the field of international literature is toward translation, an effort to which the organization Words Without Borders has made a mighty contribution as have the various International PEN organizations in the UK, USA and elsewhere. This is the first paragraph of the mission statement for Words Without Borders and it is a far better description of why translation is important than I could manage:

Words without Borders translates, publishes, and promotes the finest contemporary international literature. Our publications and programs open doors for readers of English around the world to the multiplicity of viewpoints, richness of experience, and literary perspective on world events offered by writers in other languages. We seek to connect international writers to the general public, to students and educators, and to print and other media and to serve as a primary online location for a global literary conversation.

Literary achievement is never a zero-sum game and the respectful inclusion of each others work ought to be seen as a way of bolstering the foundation of our shared interest in the life of the word, rather than as a way of distracting or otherwise reducing the worth of a single person’s contribution. If it was possible to give Michael Meyler the opportunity to conduct an engaging and illuminating discussion about the well produced trilingual book, Keerthihan’s Kite, is it not possible, also, to present Sri Lankan work in translation using the same audio/visual devices? It is entirely conceivable to me that the festival organizers could ask for the help of accomplished bi-lingual writers and translators like Malinda Seneviratne, Dr. Lakshmi de Silva, Thambiaiyah Thevathas and others like them, to handle that particular aspect of the GLF in future years or, at the very least, serve in some sort of advisory capacity to facilitate that conversation. If the festival is, as it has become, the international face of Sri Lanka with regard to its literature, then I do believe that it is obliged to represent the country’s breadth and depth of writing, in all its languages. And that is a responsibility that ought to be embraced as a privilege, not a hardship.

The issue of festival access has been raised often and, during the Q&A with Rajpal, I was aghast to hear a member of the audience (I was told later that this was Antony Beevor but since I never met the man I cannot confirm that), question the government of Sri Lanka for requesting that a festival which is largely private, pay taxes that are due to the country. The issue raised by the individual was that “there is no literary festival in the world that is expected to pay taxes.” Well, the truth is, as always, not quite so simple. Festivals that are free to the public are not taxed. Whenever an event, that involves as much private enterprise as does this particular festival, excludes - because of its fee-charging design - a large portion of the resident population, it must necessarily be treated differently. One way to avoid this is to emulate our closest neighboring festival, Jaipur, and make it entirely free although I realize that this would involve a significant degree of fund-raising to take place prior to the festival. And since I dislike making a criticism without offering some solution, might I suggest that the festival offer the option of named patrons, as is done with regard to so many other ventures involving the arts (the Aukland Writers & Readers Festival operates along these lines) something I would imagine would be just as enticing if not more so, than purchasing tickets to private events? That would also make it possible to offer a choice of the ever-popular literary dining experiences to such individuals while reserving an equal number of seats to be awarded to festival goers by lottery.

(Which, by the way, is not to say that those who have paid the fees thus far ought to be condemned as being “air heads” (as referenced in Yasmine Gooneratne’s article on the festival), quite the contrary; I found most of the Colombo socialites to be well read and more than able to engage in knowledgeable discussions about literature and writing: Sri Lankans, after all, are a highly educated populace and the possession of wealth does not automatically exclude a person from that national character!)

The lasting impression of the festival for me is one of valiant effort - chiefly by its executors and volunteers - and one of learning to distinguish the writer - eminent or fledgling- who is willing to immerse themselves in place, moment and literary endeavor from the writer who is simply there to soak up the perquisites of a festival hosted in the near paradisaical setting of Galle, which is very tempting, given its history, location, Lighthouse Hotel, Sun House and everything in between. Mercifully, there were more of the former and, refreshingly, all of the writers from the subcontinent belonged fairly and squarely to that group. It was good to discover that eating kottu at an unsavory roadside stall with Amit Varma, downing pittu and katta sambol with Rana Dasgupta, walking to the kite-flying activity on the Galle Fort with Michelle de Kretser and stopping for tea and laveriya at Monis Bakery on the way to Galle with Shyam Selvadurai blended seamlessly with our conversations about our writerly lives, with signing books and holding microphones on stages which elevate us and our accomplishments, often only artificially and almost always only momentarily, from those of others. When human endeavor permits the human being their humanity, that is the true measure of success.

Note: The two photographs of me used in the first and fourth paragraphs were taken by Sharni Jayawardena

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It is now 2 a.m. on the 27th of January, 2010 in Sri Lanka and the election results are 68.32% for President Mahinda Rajapakse and 31.32% for Sarath Fonseka. Maybe it is no big deal to win against someone who did not take the trouble to register himself to vote in the elections in which he was asking the country to vote for him. But it is a big deal to win against a candidate backed by major Western and European powers, and by native nay-sayers who would rather have a candidate who couldn’t find himself a party and was subsequently backed by two who had been responsible for much brutality in Sri Lanka throughout the 1980s than support the President who brought them peace.

This is the first time I’ve been home for an election since I left for the United States, and it is absolutely thrilling to be here. Sri Lankans are deeply and passionately engaged in the process and in campaigning and if you want a beautiful description of what a country means to someone who loves it, read ‘Reflections on my Country’ by my brother, Malinda Seneviratne. It doesn’t hurt to have a household divided between the two candidates, my father taking up the solitary stand on behalf of the Opposition. I accompanied my journalist brother, Malinda, on travels around the city and down the Southern Coast and observed a process that had none of the problems that were being threatened us by those supporting the opposition candidate. The term “blood bath” has been tossed about, but I’m hoping to avoid that as well. It is a clear victory, and there is no doubt as to why the President remains popular among the people even if some of the Colombo elite despise his status as an outsider. Here are a few of those reasons:

1. He put an end to a war that has blighted the country for 30 years, something none of the leaders of other parties including those contesting him in this election were able to do.
2. While conducting the war, he did not compromise the welfare of ordinary Sri Lankans, or sell any of the country’s assets.
3. While pushing on with both a war and the post-tsunami reconstruction, he engaged in massive development projects throughout the country, including in the North and East; highways, ports, telecommunications and web access were all part of this effort.
4. He has subsequently repatriated most of the Internally Displaced Persons, the North and East have vast areas that have been demined and are being inhabited by people native to the land and there’s a sense of breathing freely in the entire country.
5. Lastly, and perhaps most importantly, he put Sri Lankans in charge of Sri Lanka. As my sister in law put it, “In the past foreigners came in as consultants to us, now they consult us before they try to do anything in the country. He has given Sri Lankans the space to insist that the slogan “api wenuwen api” (i.e. us for ourselves), is the national standard.

Many foreign governments have attempted to push Sri Lanka in one direction or the other without the good sense to understand the context in which they were here or, worse, the damage they could cause to thousands of people including the loss of life. To have a President who is willing to stand firm against such pressure, including tremendous pressure from the United States, is simply fantastic.

Which brings me to the letter I received - it was addressed to all of us who are participating in the Galle Literary Festival - from the director of The Campaign for Peace & Justice, asking us to make all sorts of noise about the allegations he puts forth regarding abuses he has not substantiated. I’d like to say go fly a blooming kite. Instead I’ll say this: “In Sri Lanka the average voter turn out is 80%, education and health care is free, women are liberated and smart, and we have a President able to end a war and rebuild his country (while fending off ignorant individuals who want to keep enjoying their NGO junkets on our beautiful island and triviliazing our tragedies by turning our complexity into sound bites for your rabid 24/7 news media). I don’t need you to tell me what to say at a festival being held in my country. I don’t need your talking points. I don’t need your advice. I don’t need your cautionary tales of doom and gloom, mister. I’m too busy celebrating our good.” Outside in the streets I can hear firecrackers. Salut!

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The week has passed by in a blur as I get ready to leave for Sri Lanka and then to London. Anybody in either place, do come to one or more of the events being planned. Click here for details

Meanwhile, last week, I wrote about Independent Book Stores for the Huffington Post Books blog about. Here’s an excerpt from the beginning:

“To reach the reading space at the independent book store owned by Mary Cotton and Jaime Clarke, Newtonville Books in Boston, a writer has to pass through a slim corridor accessed by a few steps, and the process puts one in mind of the entire work of writing poetry or fiction; the narrow access-way of anecdote or memory cleaved into the facade of the mind breaching, eventually, and giving way to robust characters and full lives containing singular pathologies. Make it through and one is rewarded by a soft lit showcase of the bookstore’s First Edition Book Club picks which reads like a who’s who of the writing world both established (Dave Eggers, Samantha Hunt, Salman Rushdie, Stacey D’Erasmo, David Sedaris, Julia Alvarez, E.L. Doctorow, Margaret Atwood, Edward P. Jones, Ha Jin and Lorrie Moore among hundreds of others), and new (Margo Raab, Josh Weil and yours truly). At last check, one could purchase one entire collection of signed First Editions for $10,000. But what is even more thrilling than the presence of those books upon the shelves are the signatures that fill the walls and trim of the waiting room and staircase. Spontaneous witticisms from the pens of Jonathan Lethem (a creature of uncertain origin with the accompanying statement: “Tiger or giant rat, you decide, chronically yours, J. Lethem”) and doodles from Bret Anthony Johnston (a surfboard beside which Amy Hampel issues a dire threat: “Look out Bret, I just read here!”), testify to the deep camaraderie among writers as well as to their humanity.”

Please click on this link to read the full article (complete with the actual links!), and do leave your comments on the Huff Po site. I’ve been working on several blog-worthy pieces, but have a tough travel schedule coming up and have not been able to get them up. I do hope to write from home about the Galle Literary Festival and, also, about what happens during the Presidential elections which take place the day after I get there.

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I’m over at the amazing Huffington Post Books blog, talking about the dos and do nots for writers while on Facebook. Why? Because a gazillion of us use Facebook and because nearly half that number use it as the sole means of promoting ourselves and our books. It felt right to get the ground rules right. Here’s an excerpt:

“‘Tis the season when people who have things to sell - be they Chop-Yer-Own-Fir Farms or Independent booksellers or, indeed, authors - have to give their wares an extra push. I know. But after the zillionth status update in the course of three months about one book or another streaming onto my screen via Facebook’s live news feed, I realized that we were all descending, en masse, into a vast swamp of self-promotion that is just not becoming of the writerly class. So, with the blessings of a few good people who happen to be authors, I have come up with ten-step pathway to grace for writers. Here goes:
…
Rule #4. Don’t join Facebook because you’ve heard it is a Good Way To Promote Your Book. It is a good way to promote your book, but it is primarily a - say it with me - Tool for Networking. That’s right. It’s a bar. It’s a soirée, it’s a gigantic party, it’s a flat out junket, but it is not Ebay, it is not Etsy, it is not LastMinuteDeals, it is notAmazon.com.”

You can read the full article over on the blog site. And do comment. The discussion over on Facebook is wonderful, and the personal emails and messages are even better, but it’s okay to let it all out.

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I am over at The Debutante Ball today, blogging on the topic of ‘Day Jobs,’ which I have contrived to turn into a discussion of the way in which the industry responds to women writers v. male writers. Here’s a clip:

Women writers are rarely profiled with baby on hip and hand upon spoon within tureen of soup on stove. Unless they are writing cookbooks. Men, on the other hand, appear to pop up willy nilly next to stoves, babies and batches of muffins as though they relied on nothing less than full domesticity in order to create the brilliant fictions of their mind. Perhaps they do. Female writers either look glamorous or imposing. Male writers can be handsome, lovable, bashful, quirky, and fully domesticated, an entire smorgasbord of possibilities denied to women. More than one blogger even questioned why this summer’s profile of me the Poets & Writers Debut Fiction Issue did not include my age. Did I have something to hide, she asked. Apparently, if I were as youthful as my publicity photo implies (am I? aren’t I?), why would I not flash my actual age? Presumably, along with my thigh.

Why does age, gender, and marital and maternal status impinge so greatly upon the reception accorded to female writers? Why does it impinge so little upon the status given to a man of equal merit and competence? That is the companion question for all of us women who find ourselves debuting on the rather uneven stage of literary fiction, and one which I hope will cease to be relevant sooner rather than later.

Please visit the site and join in the discussion. And do support Women in Letters & Literary Arts (WILLA) if you don’t already. And if you would like further reading on the topic, check out Francine Prose’s article in Harpers, waaaay back in 1998, Scent of a Woman’s Ink. Classic.

Finally, thank you to the debs for inviting me to write this post - it prompted me to write something new, which is good news for my own blog which I have been unable to update. The idea of the current post not being about my mother was too distressing to contemplate until now. She would certainly have approved of the post that takes the place of my remembrance of her.

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This is a gripe about a trip with a few inconveniences. The Amtrak train that I was on was heading its peaceable way to Boston from Philly when its engine conked. As a woman with a near psychotic schedule, I was not overly perturbed to be given an extra hour on what I assumed would be a marginally delayed train. I smiled – and typed – through the walking-speed crawl toward New Rochelle, and unhurriedly gathered my belongings to transfer to the train headed to New Haven in New Rochelle. On that train I met a man, a father of two named Michael (one of my two favorite names, the other being Andrew), here visiting from Melbourne, Australia, who was a good conversationalist (we touched on the American health care system, public education, writing, Neil Postman and Tibetan and Theravada Buddhism), and easy on the eye. What was there to complain about? But I had to get off at New Haven, and there my sang froid began to rip and tare.

First, with a hundred milling passengers who were, by now, delayed by about an hour and a half, came an announcement that we were not to board the next train headed to Boston unless we had tickets for that particular train. Did I listen? Hell no. I had a reading to get to in Boston and there was no way I was going to miss it. So, board I did, along with a few other brave souls. Then I had to stand from New Haven to Boston and, unlike in Sri Lanka, there were no open doors to make that less claustrophobic and even thrilling. It was just a business of standing on a train with other disgruntled people, most ill-equipped by girth or height or age or type of baggage to squat or lean with any degree of comfort. I tried my best to dispatch a headache by alternating between trying to finish the book I had been cogitating over, Preeta Samarasan’s Evening Is the Whole Day, listening to Pitbull and Lou Bega, and texting my waiting friends in Boston. And third, I was forced to consider – with increasing outrage - all the able-bodied types who continued to warm their seats while old ladies and old gentlemen were struggling to stay upright while holding onto their luggage and whatever solid supports they could find.

People, it isn’t chivalrous to get up and give your seat to the elderly, pregnant women or children, it is basic human decency. It should be a hard-wiring in your brain that boots your arse out of your seat without you even having to think about it. It happens a thousand times a day in a thousand other situations around the world. It happened all my life when I lived in Sri Lanka. I was sometimes the benefactor, sometimes the one who reaped the comfort of another’s grace. I never once, in all my years in Sri Lanka, ever saw a pregnant woman, an older person of either gender, or a little child stand on a bus and the buses were invariably crowded.

So what is it with us here in America? What makes it possible for the limber of body and the, hopefully, blessed of mind, make eye contact with other human beings who have a need we can meet, register that fact, and then turn away or back to whatever it is that preoccupies us? To our laptops and iPods and books on tape and books on paper and newspapers and whatever else? I have to believe that it is our collective agreement to disengage from each other in this every-man/woman/child-for him/herself culture we have constructed around us. We don’t simply not care, we don’t see. We don’t connect unless there is something “in it” for us.

Somewhere toward Boston a seat opened up as one of the afore-mentioned individuals reached their destination. The seat was closest to me, and although I assumed it would be okay therefore for me to sit in it – by now there were only three of us standing and all of us were about the same age – I turned to the woman next to me and inquired, politely, “do you want to sit there?” This is what you would do back home in Sri Lanka. You would ask, and the other person would graciously say, “oh no, you take it.” Whichever one of you got the seat, the other person would at least feel acknowledged as having had a similar need. But I was not home in Sri Lanka. I was home in America. The woman said, “Oh, yes, I was going to sit there.” I went back to my book, leaving her to push past me to get to the seat which she occupied for all of about ten minutes before she had to get off. Getting up she told me “you can have my seat now.” I said nothing. I continued to stand the rest of the way. I wanted nothing to do with such people, nor with the places in which their sorry bottoms had rested. It was idiotic, I know, it proved nothing and only increased the fatigue that had by now enveloped me on this journey that had already lasted ten hours, several of those on my feet, but it made me feel holier-than-thou. Which was about all there was left to feel until I could reach Boston where a flurry of friends – most of them descendants of immigrants but an equal number born here - could restore my faith in basic human goodness.

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On the road with the book, there’s a question people keep coming back to that I find a little odd, and it concerns women and the strength of the female characters in my novel. I think Eric Forbes’ interview with me is the best example of this, and my response to him is the answer I usually give:

How did you go about creating two strong female protagonists?
I love women. I am drawn to them, I trust them, I think highly of them and I appreciate their gifts. Which, I think, makes me consider their strengths, the source of their resilience, and the difficulties they face with a particular empathy. It has to do with my gladness that they exist and that I am one of them, more than anything I could set out to do in terms of “creating” characters. There’s the famous quote “there are no ugly women, only women who do not know how to make themselves beautiful,” something like that. In my world, I don’t believe that there are weak-willed women, only women who have not realised their strengths. Strength is, for me, the default setting for women. They can improve upon it or disregard it, but it is always there.

So there it is. That is what I think. But apparently it is not possible to express a love of women without generating the accompanying suspicion, “she hates men.” Just the other day, after what I thought had been a very enlightened discussion about the novel, a woman turned to the assembled and explained me to them as doing just that. So for the record, I want to say, categorically, I do not hate men. I am comfortable around them, having grown up with them - older brothers and male cousins and my mother’s male students made up my domestic landscape as a child - in a way that made boys a fact of life, not some mythical beasts to go chasing after or summon to my side with some beguiling charm. I was a tree-climbing, roof-scaling, wall-leaping, skinny, androgynous being who could, most of the time, outrun and outdo the boys. My mother has been known to haul me off to the barber along with her sons and I have emerged, at the age of nine with sideburns. I kid you not.

Perhaps being free not to have to define myself as being “other than a boy,” since I was quite clearly happy as a clam all but being one myself, made me look toward women with a particularly interested eye; and what I saw, growing up, were beautiful and intelligent and, often, burdened girls and women who displayed courage in spades. No woman in my life taught me to be afraid of anything. (I learned fear all by myself in America - and it has to do with psychopaths in parking garages and Hannibal Lecter types complete with night-vision goggles; men who want to hide women or eat women!!) What I grew up wanting to be was a woman like those women of my childhood: women with inner poise and resources of the spirit that nobody could touch or mangle or take from them.

What one wants to be or admires, usually informs the way in which a person approaches the world. I expect the women I meet to have a depth to the conduct of their lives that comes from inhabiting a world still tipping in favor of men, that their stories offer the kind of complexity I enjoy imagining, that their laughter has no bitter spring. I love women: I love the beauty of their physical selves, the abundance of their inner lives, their ability to see the threads in a tapestry, not just the picture it depicts.

I also love men. The men in my adult life have been and are a combination of the following: witty, smart, decent, funny, athletic, artsy, well-read human beings. Most of them can dance and are comfortable saying so. They are men who are confident enough in their masculinity that they can confess to a lack, define themselves by their thoughts and commitments, not their jobs and salaries, and who can be just as androgynous as grown men as I was as a girl. I approach the world as a woman who is at ease among them, who likes their company and can play all their games, and who is comfortable becoming any of the relatively harmless variations of female that men enjoy having around them. I never change who I am when I am around women and I have never been around a woman who has required that of me. And that is the simple difference in how I think about men and women. There is only a way of visiting with the world that finds me less on guard and more deeply engaged around women than around men. There is no hating involved.

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Hi to Wendy Robards who is visiting via a guest post today. Her regular home is at www.caribousmom.com where she hosts a literary blog about books, reviews, reading challenges and other word-wise thoughts. Wendy is in Maine, the place where I wrote my first (bad) book and my novel, A Disobedient Girl, so we share a connection to a place that speaks to both what she talks about in her post today and what I am talking about in my post ‘Thinking Aloud About Time & Space,’ on her site today.

The world spins faster these days with social networking, cell phones which can snap instant photos and connect to the Internet even in the middle of nowhere, and digital readers that can store more books than I have room for on my bookcase shelves. We are never unconnected – from friends, family, work. Everything that needs to be done can be done instantly. We pay our bills on line, shoot off emails which arrive at their destination in seconds, and download photos we took only moments before.

And so it occurred to me the other day as I carefully pressed and cut fabric for a new quilt and felt my heart rate slow and a sense of calm steal over me, that one of the reasons my life has felt out of kilter and speeding out of control these days might just be related to how I choose to spend my time. Somehow, in the fast and furious world of instant connection and electronic stimulation we have slipped away from the things that ground us, slow us down, and connect us to simplicity and beauty.

The art of quilt making requires many steps to get to the end result. It starts with selecting fabric, finding pleasing colors that coordinate, and envisioning how they will come together to form a block which then forms a row, which then forms a quilt. At this stage many quilters may sit quietly with a calculator and a piece of graph paper, sketching geometric shapes and planning. Then comes pressing, inhaling the steam from the iron and the warmth of the fabric, smoothing out the wrinkles, setting the fabric on the cutting mat and carefully cutting the pieces which will form the whole.

Pinning, stitching quarter inch seam allowances, more pressing, the whir of the sewing machine, the fabric sliding beneath one’s fingertips, the joy at watching the colors combine in a unique and simple design…the process unfolds slowly, engaging the visual, auditory and tactile senses.

But you are not done yet. The backing, batting and top must be pinned together with care and then there is more contemplation. How will you quilt this beautiful creation? Straight lines? Flowery whirls? What color thread would be the best? And as the quilting progresses, the piece transforms itself and becomes a multi-dimensional work of art. The binding is hand stitched - tiny, perfect stitches -with the quilt draped over one’s lap.

When it is all done – washed and air dried in the sunlight – the quilt has become part of the quilter with its wrinkles and soft folds, art that warms and comforts and is pleasing to the eye and to the hand. It is this process and final result that stirs within us a sense of peace and beauty, a sense that we are creating something lasting that took time and care, a piece of ourselves that has the power to touch others. Who has not curled beneath a handmade quilt and felt comforted?

Quilt making reminds us of our roots and history. Perhaps it is in our genetic memory, passed on from our ancestors.There are other activities that also ground us, connect us to our environment and senses, and remind us that beauty is sometimes found in the most simple of things: baking bread (combining, kneading, waiting, baking…inhaling the smell of yeast in a warm kitchen), planting a garden (fingers pushing into dirt, the smell of the sun on the earth), and walking in nature (the sound of the wind through the trees, the scurry of animals in the bushes, the song of birds). Sometimes just sitting on a porch after a rainstorm, with the clean smell of damp earth and the occasional drip of water from a tree branch, can bring us to that place of quiet and contemplation.

Technology has carried us in its wake with its cold, fast, instant gratification. The world spins faster these days and we may be forgetting how to slow down. Feeding our souls and finding a place of calm is only a quilt or a loaf of bread or a homegrown tomato away. It is taking our time and enjoying the journey, engaging our senses and remembering our roots.

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I’m over at the Lost in Books site guest posting a few thoughts about raising cross-cultural children in America. There’s an excerpt below. Click this link for the full post and browse Rebecca’s other love, design through the Ruby’s Upcycled Designs site which has a hundred other links to gorgeous treasures made from something old.

“Sri Lankan children are unreservedly indulged from birth to the age of five. Mothers chase after them at lunch, with little balls of rice on spoons or, more usually, in their fingertips, cajoling the beloved to take one more bite of food. Water is warmed for their baths, they are coddled and cuddled and forgiven for all manner of travesties. They throw tantrums which are observed by smiling, sweet-tongue extended family. They are given the best of every luxury that a family is fortunate enough to come by, no matter their social status. At five, though, everything changes. That is when all children go to school; usually to montessori schools. At this point, they are expected to buckle down to the serious business of being not babies but children. Almost overnight, children realize - and appear to do so without too much trauma - that the honeymoon is over. They turn away from parents toward their peers, united by their common predicament. Parents, in turn, bond with those to whom their children are entrusted: teachers.

Sri Lankan children move, therefore, between what are considered two sets of parents, the ones who gave them life and those who teach them how to live. The first songs that children are taught in Sri Lanka are those that describe the respect due to both parents and teachers. And, in true Sri Lankan style, the lyrics are gut-wrenching! It is relatively easy for children to undergo this transformation because there is a universally accepted set of cultural beliefs to buttress the frame within which it takes place: respect for their elders no matter where they are found, the value of education, the importance of religious and cultural observances (Sri Lanka celebrates all four major religions of the world), the worth of hospitality toward guests and loyalty to ones friends.”

contd.

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