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The Art Forger by B.A. Shapiro (Algonquin Books; 384 pages; $14.95).

                We’re all a little guilty, aren’t we?  We’ve all told a little white lie... or ten.  “Yes, I absolutely love your new haircut.”  “This new recipe tastes yummy”(quick, spit it out in your napkin while no one’s looking).  “I read all of War and Peace last year for my book club.”  There are white lies that do not matter in the scheme of life, but then there are big lies and even bigger deceptions that matter a great deal.

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Q&A with Emily Jeanne Miller, Author of Brand New Human Being

Jaime Boler: Thanks, Emily, for letting me ask you these questions.  I really appreciate it.  You have worked in journalism and you have an MS in environmental studies from the University of Montana and an MFA in fiction from the University of Florida.  What is your first love: environmental studies or writing? 

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Brand New Human Being by Emily Jeanne Miller (Houghton Mifflin Harcourt; 272 pages; $25).

"My name is Logan Pyle.  My father is dead, my wife is indifferent, and my son is strange.  I'm thirty-six years old.  My life is nothing like I thought it would be."  Thus begins Emily Jeanne Miller's fast-paced and deeply heartfelt debut Brand New Human Being…

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An epic odyssey in which a young man must choose between the lure of the future and the claims of the past.

With clouds looming ominously on the horizon, a group of children play among the roots of the gnarled Bone Tree. Their games will be interrupted by a merciless storm–bringing with it the Great Flood of 1927–but not before Robert Chatham shares his first kiss with the beautiful young Dora. The flood destroys their homes, disperses their families, and wrecks their innocence. But for Robert, a boy whose family has already survived unspeakable pain, that single kiss will sustain him for years to come.

Losing virtually everything in the storm’s aftermath, Robert embarks on a journey through the Mississippi hinterland–from a desperate refugee camp to the fiery brothel Hotel Beau-Miel and into the state’s fearsome swamp, meeting piano-playing hustlers, well-intentioned whores, and a family of fierce and wild fur trappers along the way. But trouble follows close on his heels, fueling Robert’s conviction that he’s marked by the devil and nearly destroying his will to survive. And just when he seems to shake off his demons, he’s forced to make an impossible choice that will test him as never before.

Teeming with language that voices both the savage beauty and the complex humanity of the American South, Southern Cross the Dog is a tour de force of literary imagination that heralds the arrival of a major new voice in fiction.

About The Author:

Bill Cheng received a BA in creative writing from Baruch College and is a graduate of Hunter College’s MFA program. Born and raised in Queens, New York, he currently lives in Brooklyn with his wife. Southern Cross the Dog is his first novel.

I spotted a school of about 20-30 stingrays, eight dolphins frolicking in the surf, and one very large (and very close to shore) shark.  Scuttlebutt said it was a Great Hammerhead, but I have my doubts; I saw the head and it was not a hammerhead.  Looked more like a blue shark or a nurse shark to me.

I also played both the Florida Lotto and the Powerball.  Alas, I was not a winner in either.  Better luck next time.

I did some extensive reading done, and that is the goal of this blog post–to share with you what I read.

Masterful and exquisite period piece set in the Great Depression.  This comes out in June.

The perfect, propulsive summer read.  A Hundred Summers is like candy–once you start, you can’t stop!

Disappointing but better than The Lost Symbol.

A YA novel adults will love.  Thought-provoking and highly intense, this page-turner will keep you up all night.

Brackmann’s clever, taut sequel to her bestseller Rock Paper Tiger.  

What I’m Reading:

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Interview with Lance Weller, author of Wilderness

Jaime Boler: Lance, thank you so much for letting me interview you. Did you always want to be a writer?

 

Lance Weller: For as long as I can remember, yes.  My maternal grandmother had dreams of being a writer and always had the accoutrements of the craft lying around—pens, pads of paper, a really excellent typewriter—and some of my earliest memories are of monkeying around with all that wonderful stuff.

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About the Book:

A resilient doctor risks everything to save the life of a hunted child, in this majestic debut about love, loss, and the unexpected ties that bind us together.
 
   In his brilliant, haunting novel, Stegner Fellow and Whiting Award winner Anthony Marra transports us to a snow-covered village in Chechnya, where eight-year-old Havaa watches from the woods as Russian soldiers abduct her father in the middle of the night, accusing him of aiding Chechen rebels. Across the road their lifelong neighbor and family friend Akhmed has also been watching, fearing the worst when the soldiers set fire to Havaa’s house. But when he finds her hiding in the forest with a strange blue suitcase, he makes a decision that will forever change their lives. He will seek refuge at the abandoned hospital where the sole remaining doctor, Sonja Rabina, treats the wounded.
   For the talented, tough-minded Sonja, the arrival of Akhmed and Havaa is an unwelcome surprise. Weary and overburdened, she has no desire to take on additional risk and responsibility. And she has a deeply personal reason for caution: harboring these refugees could easily jeopardize the return of her missing sister. But over the course of five extraordinary days, Sonja’s world will shift on its axis and reveal the intricate pattern of connections that weave together the pasts of these three unlikely companions and unexpectedly decides their fate. A story of the transcendent power of love in wartime, A Constellation of Vital Phenomena is a work of sweeping breadth, profound compassion, and lasting significance.

About the Author:

Anthony Marra grew up in Washington, DC, and has lived and studied in Russia. His story “Chechnya” won First Place in Narrative’s Spring 2009 Story Contest and received both a Pushcart Prize and the Narrative Prize in 2010. His work has appeared in Best American Nonrequired Reading 2012, and in 2013 Marra received the prestigious Whiting Writers’ Award. His debut novel is entitled A Constellation of Vital Phenomena (Random House, 2013). Marra is a graduate of the Iowa Writers’ Workshop.

There is no doubt that the war-torn country of Chechnya has been in the news of late and I think that might mean even more readers for Marra.  Readers are comparing A Constellation of Vital Phenomena to two of my favorite novels: Michael Ondaatje’s The English Patient and Tea Obreht’s The Tiger’s Wife.  I am excited about Marra’s debut.

            Fear of communism and nuclear war permeated the psyches of millions of Americans in the 1950s.  Public and private concerns were heightened by Senator Joseph McCarthy when he proclaimed that hundreds of Communists had infiltrated the United States government.  Many writers and entertainers were accused of sympathizing with Communists and thus were blacklisted.  His accusations were later disproved, but that did not stop his fervor from spreading.

In her tenth and best novel, Is This Tomorrow, expert storyteller Caroline Leavitt capitalizes on these anxieties.  “You can’t trust these Communists,” one of Leavitt’s minor characters maintains.  “They couldn’t tell the truth if they wanted to….You kids think it’s funny, but any second a missile could come down on us,” he insists.  “And we wouldn’t even see it or be prepared.  One minute we’re here talking in this nice neighborhood, and two seconds later, boom, we’re ash.”  In his eyes, the Russians “hide explosives” and could be anywhere, even in his own neighborhood, “and we wouldn’t even know it.”

The era in which Leavitt sets her story is perfect for her setting.  Father Knows Best gently reminds American kids who is boss in the household.  Echoes of “just wait until your father gets home” are heard all across the United States as the mother keeps house and raises the children and the father brings home the bacon.  Doors are left unlocked.  Sunday is the Lord’s day.  The post-war economy is booming, and so is the birthrate.  Everything seems idyllic, but appearances often deceive, as we all know.

The Cold War between the United States and the Soviet Union is at its frostiest with no signs of thaw.  Nuclear annihilation is a real and daily threat as school kids are taught to duck and cover and worried fathers build bomb shelters.  New phrases such as Red Scare and Yellow Menace become part of the everyday lexicon.  Americans view those who are different, who do not conform, who look different, who sound different, and who worship differently with contempt.  Anyone deemed not like everyone else was considered deviant.

Life seems peachy for Americans, but ugliness and fear lurk just under the surface.  This juxtaposition is at the heart of Leavitt’s taut, atmospheric, and humane tale.  Blending a coming-of-age saga with history and mystery, Leavitt creates a tense and suspenseful atmosphere when a neighborhood boy goes missing.

Is This Tomorrow is told from three different and varied perspectives: Ava, divorcee, working mother, and the head of the only Jewish family on the block; Lewis, her son; and Rose, her son’s best friend and sister to Jimmy, the youth who vanishes.  Although Jimmy is not a narrator, his disappearance looms over the novel; his presence and his absence are powerfully palpable.

Because Ava is different from the other neighborhood parents, she is suspect.  Ava locks her doors when all the other doors are unlocked; she works when the rest of the mothers do not have jobs outside the home.  She does not dress like the other mothers and she has had a string of boyfriends. The neighbors see her as a floozy.  These things do not necessarily damn her, though.  Other parents believe she may have had an inappropriate relationship with her son’s best friend.  Ava denies it but admits she knew Jimmy had a crush on her.  He was at Ava’s the day he went missing.

Jimmy’s disappearance profoundly changes the lives of all of Leavitt’s main characters.  Jimmy’s departure leaves Ava, Lewis, and Rose stuck and unable to go forward.  The calendar turns and they grow older, but they are still stuck in the moment Jimmy faded away forever.  They have too many loose ends in their lives, and the burning desire to know what happened drives them.

Caroline Leavitt

Rose, Jimmy’s sister, becomes a teacher but never forgets her family tragedy as she desperately pleads with the principal to put a fence around the playground so school kids will not wander off.  Lewis withdraws from his mother and searches for his father, who once wanted custody of Lewis but has since vanished himself.  Ava feels alone and bakes pies that she sells to a local restaurant but has never forgotten Jimmy and the day he seemed to evaporate into thin air.

Leavitt hooks you in the first chapter when young Jimmy goes missing and does not let you go until the very last page.  I was riveted.  Leavitt provides readers with timely and weighty issues such as missing children, difference, and paranoia.

With expert pacing, the author takes her time revealing secrets.  This master storyteller is meticulous and wise as she teases out every detail but still keeps you guessing.  Is This Tomorrow is atmospheric and taut and has everything you could ever want in a book: compelling, fully realized characters; an intense, dramatic, and compelling plot; and the perfect, evocative setting.  Everything comes together superbly in Leavitt’s skilled hands.

The title is taken from a propaganda comic book that came out in 1947 and warned of the dangers of a Communist takeover.  An estimated four million Americans purchased the educational comic, no doubt contributing to the fear and paranoia of the 1950s.  In Is This Tomorrow, Leavitt brings this era to life and illustrates how fear of the unknown and fear of difference transformed a country, a community, and a people.  Although her book is set primarily in a time very different from our own age, Is This Tomorrow is a cautionary tale for us in the Twenty-First Century.

Caroline Leavitt

Jaime Boler: Thank you, Caroline, for letting me ask you these questions.  I devoured Is This Tomorrow  in one sitting and loved the tense, suspenseful atmosphere you create.  I know this novel is very personal to you.  What was your inspiration for Is This Tomorrow?

Caroline Leavitt: I grew up in the 60s and my family was the only Jewish family on a Christian block. I grew up hearing, “You killed Christ,” and “Where are your horns?” and in third grade, I was even given a test on Jesus and the apostles in public school! But there was another family that was even more outcast—a divorced woman with two kids. She had a lot of boyfriends, she was sultry, and she was therefore, suspect. I was friends with her daughter who kept telling me that the family she babysat for was going to adopt her and I kept telling her that was impossible.

But it actually happened. Her mother gave her up, she left with this family, and shortly afterwards, the woman and her son just vanished. I was haunted by that.  I wanted to write about what it feels like to be an outsider in a closed community, and I also wanted to write about the 1950s, when everything was supposed to be perfect and everyone was supposed to be the same, and anyone who was not, was somehow punished.

JB: Did you always want to be a writer?

CL: I did! I was a sickly little girl with asthma who spent a lot of time in the library or at home when other kids were playing.  I wanted to validate my experiences and I could do that by writing about them. Plus I loved creating these whole worlds!

JB: Please describe Is This Tomorrow using ten words or less.
CL: Tense. Paranoia. Yearning. Fear. Suspicion. Love. Mothers/sons. Fathers/ sons.

JB: Is This Tomorrow is your tenth novel.  How was writing this book different from writing your first or second book?  Does it come easier?

CL: It never gets easier. There’s a famous John Irving quote (I love John Irving) where he says if you don’t feel that you are writing over your head, that you have no authority to tell your story, and that everything is about to fall apart instantly, than you are not writing hard enough. You are supposed to feel sick with nerves and terror! And I think he’s right.

Every book is something brand new and it is always hard, filled with terror, filled with joy, and monumentally difficult and wonderful. It’s different than writing my first because I know to expect these states so I don’t panic over them as much anymore!

JB: I often hear that writing a book and then seeing it on shelves is like being pregnant and giving birth. Is it like that for you?
CL: I would say no, because for me being pregnant was pure bliss. I loved all of it, from the morning sickness on down to the labor pains. And giving birth was just a day out of the whole 9 months. To me writing a book is more like running a marathon with a stone in your shoe and blisters on your feet, and every once in a while someone hands you a band-aid and some cold water.

JB: Your family moved to the suburbs of Waltham, Massachusetts, in the 1960s.  Yours was the only Jewish family in a predominantly Christian neighborhood.  How were you seen as “different”?  Did you feel like an outsider?
CL: I was a total outsider. I wasn’t just Jewish, I was also sickly with asthma, and I was really smart in a town where only 10 percent of the high school went on to college and being smart was viewed with suspicion. (Many people thought that smart people were Communists.) One of the ways I got through it was looking to the future. I knew I would get out of Waltham, that I’d go to college, that I’d be a writer.

JB: Which character’s voice did you hear first while mulling this story in your head?

CL: Ava.  I heard and felt Ava’s pain in struggling to make a home for her son, to avoid her ex-husband getting custody, to get to work on time, and to deal with the adoration of her son’s best friend all at once!

JB: Why did you set your story in the 1950s and 1960s?

CL: Because it’s such a fascinating time for me. The suburbs in the 1950s were supposed to be the American dream! There was money in the bank, cars in the garages, women had all these modern conveniences, yet the undercurrent was that everyone was terrified of the atom bomb and of a Communist takeover. There were all sorts of pamphlets written about how to spot a Communist (beware of multi-syllabic words!) and how to survive an atom bomb (Wipe your feet before you come in the house to get rid of excess radiation.) Women were second class citizens and people were very, very paranoid about anyone even remotely different. The 60s was on the cusp of change, but even in the early sixties, it was still pretty unsettling a time.

JB: Is Ava loosely based on your own mother?

CL: Not really. Though when Ava marches up to the school to complain that Lewis has a test about the apostles—that was my mom!

JB: What was the most difficult thing about writing Is This Tomorrow?

CL: When I had to write what happened to Jimmy and why. I felt such despair. I wanted to skirt over it, but I knew that I couldn’t, and it haunted me for weeks.

JB: Did you discover anything new about yourself in the midst of writing Is This Tomorrow?

CL: I discovered a new compassion for the people who had made my life difficult when I was young. In creating fully realized characters, I began to understand that they had their own issues and problems and they were doing what they felt they had to do. And I began to realize that writing about my childhood in Waltham was actually liberating. I could look at it through a much more compassionate lens.

JB: How were earlier versions of the story different from the final copy?

CL: The earlier versions were not fully formed. Around the 6^th draft, I realized part of the book was a meditation about mothers and sons, and letting go. Around the 8^th draft, I began to see that there was a love story forming and so I worked really hard on that. And around the 20^th draft, I knew what exactly had happened to Jimmy and why.

JB: Do you have lots of different ideas for future stories in your head at one time?  If so, how do you decide which idea to pursue, what to keep for later, and what to discard?

CL: I do. If it haunts me over six months, I know it’s a keeper. I have a folder called NEW NOVELS and I throw in ideas. Some of them are things I’ve been wanting to write for years and years, but I just haven’t figured out how yet.  To me, it’s all in the timing. Some ideas are like wine. They just have to be aged a bit for me to realize what the real story is and why it’s important to me.

JB: You are also an avid reader, reviewer, and blogger.  How has blogging changed book marketing and publicity?

CL: Blogging is fantastic! I started blogging because I thought that was what writers were supposed to be doing, but then I was also reviewing books for People, The San Francisco Chronicle and The Boston Globe, and there were often books I loved that I couldn’t place, or I couldn’t pitch because I was friends with the writer (that’s considered unethical). So I figured what I could do was conduct interviews with writers. That way I could give them press and I could have fun and learn something about writers I admire!  There are fewer and fewer newspapers and book review sections, and blogging takes up the slack beautifully.

JB: What do you like to do when you are not writing?

CL: I’m a movieholic. I love independent films (I was actually a finalist in the Sundance Screenwriting Lab this year), but I will see anything that moves on the screen, which means a lot of times friends refuse to go with me because of my choices. I also read all the time and I love prowling NYC, and going from museums to shops to restaurants to parks.

JB: Any hidden talents we don’t know about?

CL: Well, I was the proud owner of a gorgeous tortoise for 20 years. I used to walk him in Central Park. I wrote about him for NYT Modern Love. Before I got married, my tortoise was my litmus test for boyfriends. If a man would eat dinner while the tortoise was on the table, then he was a keeper.

JB: Who are some of your favorite authors and what are some of your favorite books?

CL: John Irving, The Ciderhouse Rules, The World According to Garp

Elizabeth Strout, Amy & Isobelle
Dan Chaon, Stay Awake

Meg Wolitzer, The Interestings
Anything by the Brontes!

And of course all my writer friends’ books. If it is on my blog, chances are I adore it.

JB: There are so many great books that come out each month (even each week).  How do you decide which books to read and review for your blog?
CL: I’m a great scout. I sometimes hear about books by seeing a post on FB or twitter. Sometimes writers or publicists will write to me about a book, or sometimes authors will suggest other books that I might like.

JB: What advice do you have for anyone working on a first novel?

CL: Don’t. Give. Up. See if any part of your novel in progress might work as an excerpt. (Check out Poets & Writers, a great resource for that.) Try to build community with other writers so you have a support system in place. Always help other writers. It’s good karma and that also helps you build community.  Attend conferences so you know editors and agents.
Also, do not write for the market. Do not write for a reader. You will kill your art. The way to reach others is to write for yourself, to dig deep. That is what will make your work universal and true.

JB: What is a typical day of writing like for you?

CL: I get up at 7 to see my son off to school, then I hit my desk and stay there until lunch. My husband works at home, too, and we have lunch together. Sometimes we take off and go see a movie! But then we are back at our desks until dinner. After dinner is what I call clean-up time, where I handle all the odds and ends I have to do. But we have a rule. No working after ten. And we stay up until one, so we can decompress and have a life!

JB: What do you hope readers take with them after reading Is This Tomorrow?

CL: That fitting in, especially in a closed community, is not always what you want or need to do. That you can find your own community and it may not look anything like what you thought it would, but it can still nourish and support you. That paranoia can destroy lives. That love and hope can save them.

JB: What’s next for you?  Are you working on anything new?
CL: I just sold a proposal for my next novel, CRUEL BEAUTIFUL WORLD to Algonquin, which I now have to write. It should be out 2015. It’s set in the waning days of the 1960s and the early 70s when all the peace and love movement began to turn ugly, and it centers around a young girl who runs off with her older high school teacher to a back-to- the- land Utopia, which turns unexpectedly tragic.

JB: Thank you, Caroline, for a wonderful interview.  Good luck with the book!

CL: Thank you so much for these wonderful questions!

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Author Website

            For thousands of years, the Wabanaki Indians traveled extensively by canoe, portaging from one body of water to another.  They had to decide which possessions were necessary and which were not needed on their journeys.  The Wabanakis “learned to travel light” and to make logical decisions about “what to keep and what to discard.”  The canoes were essential; little else, though, was deemed indispensable.

Molly Ayer, a Penobscot youth and one of the main characters in Christina Baker Kline’s emotional page turner Orphan Train, knows the concept of portaging all too well.  At 17, she is months away from aging out of the foster care system.  In nine years, Molly “has been in over a dozen foster homes, some for as little as a week.”

As Kline illustrates, life has been difficult for Molly, who has “been spanked with a spatula, slapped across the face, made to sleep on an unheated sun porch in the winter, and taught to roll a joint by a foster father.”  If that is not enough to make your heart go out to Molly, consider this: she got her first tattoo at 16 from a 23-year-old man in exchange for her virginity.

People make assumptions about Molly.  She has streaks in her hair, a number of piercings, and tattoos.  She comes across as tough-as-nails and extremely apathetic.  But it’s all for show.  Molly is hurting crying out for help.

Molly gets in big trouble when she steals a beat-up and old copy of Jane Eyre from the library and must do 50 hours of community service.  Because it’s “better than juvie,” she agrees to help an “old lady” clean out her attic.

As Molly sees it, Vivian Daly, a wealthy widow, has led a full and fulfilling life with everything she could ever want.  Interestingly, Molly is guilty of making the same kind of assumptions about Vivian as people make about her.

In reality, Vivian has a tragic past: she was an Irish immigrant and orphan sent by train from New York to Minnesota to be adopted by Midwestern families.  In some cases, the families fed, clothed, and educated the children until they reached 18 and mutual love and affection developed.  This was not Vivian’s experience.  Going from house to house, from family to family, Vivian endures hardship, hatred, and abuse.  Everything was stripped from her, even her name.

For Vivian, it was a “pitiful kind of childhood, to know that no one loves you or is taking care of you, to always be on the outside looking in.”  It really was not a childhood at all, as she knew “too much” and had seen “people at their worst, at their most desperate and selfish.”  This knowledge made Vivian cautious.  Vivian learned “to pretend, to smile and nod, [and] to display [an] empathy” that she did not feel.  Broken inside, she was little more than an indentured servant, hoping and praying for the day her time would be up and she would be free.

Molly learns that she and Vivian are more alike than she knows when her American History teacher gives his students an assignment: interview someone about his or her own portage, the moments in life “when they’ve had to take a journey, literal or metaphorical.”  He urges them to create with an oral history of those they are to interview and ask: “What did you choose to bring with you to the next place?  What did you leave behind?  What insights did you gain about what’s important?”  Molly seeks out Vivian, who tells the young girl about the orphan train, a secret she has kept hidden for years.

Kline makes clear that both Molly and Vivian have undertaken a number of portages throughout their lives.  Their journeys have shaped their personalities and made them skeptical, guarded, and afraid.  Although Vivian seems done with portages, Molly is not and must undergo another in the novel: “She’s a turtle carrying its shell.  Jane Eyre, staggering across the heath.  A Penobscot under the weight of a canoe.”

In Orphan Train, Kline employs a dual narrative format as she takes us from contemporary Maine to a Minnesota in the midst of depression and war.  The author gives us Molly’s perspective in the third person but shifts points of view for Vivian to first person.  This marked change underscores the importance of Vivian’s narrative and gives her story more bearing.

Orphan Train is a historical gem, shedding much-needed light on an almost-forgotten period in American history when East Coast orphans were packed up and put on trains headed to the Midwest from 1854 to 1929.  Kline not only entertains us and captivates us with such a well-told story but she also informs and educates us, and I applaud her for that.

Solemnity and heartbreak intersperse the pages of this novel, yet Kline also infuses Orphan Train with inspiration and hope.  While Molly and Vivian undertake both literal and physical portages, Kline forces us to ponder our own lives: what we take, what we leave behind, and those things that are of utmost importance.

Orphan Train by Christina Baker Kline is the She Reads May Book Club Selection.  For giveaways, interviews, discussion, and more reviews, please visit She Reads.

Christina Baker Kline