White sheets on the line just like dropping snow.
- Published on Sunday, 19 January 2014 20:21
Her ladyship: Okay, what started this off? This idea for an “advice book for the modern age”? Were you standing behind one of those tedious people who take longer to order their coffee than you would to drink it, if you could just get a cup? Did someone put a store-bought cake on a heirloom platter and bring it to your funeral? Did you punch an annoyingly smug Mom at the fun park and suddenly realize that our lives lack serious impulse control?
Celia: I had always wanted to do a single-subject book but it wasn’t until my editor at St. Martin’s Press, Jennnifer Enderlin, suggested etiquette that I felt my pulse race a bit. Yes! As my husband is fond of pointing out, there are few things I enjoy more than telling people how to live their lives. He is right so there’s no point in me pouting about it. When Jen suggested it, I DID immediately think of those people who clog the line at the post office with their incessant STUPID ASS questions. See. I do so love profanity and I thought it would be fun to write an honest-to-Jesus advice manual that kept it real so to speak. Hence, Rude Bitches was born.
Her ladyship: Isn’t it rather rude to have the word “bitches” in the book’s title? Aren’t you forcing hundreds of thousands of people to squirm uncomfortably when they attempt to order your book from their bookstore, thus making you part of the whole “rude Americans” problem?
Celia: See above. I don’t care if people squirm a little as long as they can stop all that squirming long enough to order the book.
Her ladyship: Are you worried that our society is becoming irredeemably bad-mannered? Is it Facebook’s fault? Can Facebook fix it with the enforced imposition of “featured posts”? And how did you discover there is a Facebook group called “I Secretly Want to Punch Slow Walking People in the Back of the Head”? Did Facebook suggest you “like” it?
Celia: Yes. Yes, I am. And, no, I don’t blame Facebook specifically although it certainly does make us all cringe more than ever at the “humble brag.” Before Facebook, it was rare to see in print something as rude as: “Skip Jr. was incredibly nervous about his ACT but it went well and now he is weighing Princeton vs. Harvard. Should we go with Mom’s alma mater or Dad’s. What to do!” Ugh. Ugh. Ugh. A friend told me about the FB group “I Secretly Want to Punch Slow Walking People in the Back of the Head.” Ill-mannered? Of course. But it makes me laugh so it can’t be all bad.
Her ladyship: You cover pretty much every situation designed to challenge a body’s civility except what to do about the woman who wants to talk to you about Jesus while you’re waiting for the garage to change the oil in your car. But everything else is there--psychotic little kids in grocery stores, gross habits of gym-bunnies, people who insist on talking politics. And in each section, there are a couple of write-in-type questions. Were these sent to you by your readers? Or did you make some of them up because let’s face it, somebody needed to ask them?
Celia: The questions in the book came from, mostly, my very helpful girlfriends and the dressing room at TJ Maxx which is such a great sisterhood of strangers. I just “up and asked” for help whenever I went in there and people were more than glad to tell me their worst etiquette stories.
Her ladyship: Given the state of the comments section on any given website, how come your book isn’t longer? What rude behavior did you leave out? And did you leave it out because you secretly think it’s okay?
Celia: There is definitely enough material left over for a second book. I can’t wait to get started on it! There’s a fetcher at the end where I asked for readers to send their etiquette dilemmas that weren’t covered and they have responded! Which just proves that MY readers are insanely thoughtful and well-mannered.
Her ladyship: How long have you secretly wanted to be the cooler, more hip Abigail Van Buren? Is it possible to be cooler or more hip than Abigail Van Buren?
Celia: All of my life. And, uh, yes.
Her ladyship: Are you finding now that every time someone stops you to say how much they liked your book, they also have to bore you with the rude behavior pet peeve that you left out? Your book has been out a month and a half now--aren’t you sick of that?
Celia: Not at all. See the earlier question about leaving stuff out.
Her ladyship: And on that note, here's my pet peeve question. What can you do when you go to dinner with a good friend and you realize she is one of those people who makes the wait staff run lots of little errands and sends food back just because she can? Do you put a napkin over your head to hide from the shame? Over tip the staff and write little apologetic notes with smiley faces on the receipt? Tweet the awful experience in real time as it is happening? What would be appropriate here?
Celia: Oh, precious. I am so sorry that you have such poor judgment in friends. Ditch this monster immediately. Seriously, you should just photocopy the chapter that deals with high-maintenance diners and send it to her. Underline the part where I say wait staff can do “terrible things to your food. TERRIBLE things.” BTW, I have no patience for people who try to intimidate wait staff. It’s trite but true that you can judge a person’s character by how they treat people who can’t do them any good (help them get ahead). Seriously, don’t hang around her.
Her ladyship: When it comes right down to it, what’s the best piece of advice in your book?
- Think of others, all the time.
- Gossip is usually false.
- Leave the seat down.
- Be nice.
- Never buy cheap ice cream.
Celia: That’s easy: Never buy cheap ice cream. If you’re eating the good stuff, it will make you do all the others because you’ll be so damn fat and happy.
- Published on Wednesday, 01 January 2014 00:00
Southern Indie Booksellers want readers to eat their okra!
Winter is the season of black eyed peas, collards, and pot likker but for Southern Indie Bookstores it’s also time for some Okra! The brand new crop of Winter 2014 Okra Picks have just been harvested--the best southern lit, fresh off the vine. All the chosen books have a strong Southern focus and are published between January and March, 2014, and all of them have fans among southern indie booksellers who are always looking out for the next great writer you should know about. So it is very likely the next time you visit your local southern indie bookstore, someone will hand you one and say, “You’ve got to read this!”
The Winter 2014 Okra Picks List!
The In-Between Hour by Barbara Claypole White
Mira Books, $14.95 January
The Invention of Wings by Sue Monk Kidd
Viking, $27.95 January
Starting Over: Stories by Elizabeth Spencer
Liveright Publishing Corporation, $24.95 January
The Last Days of California by Mary Miller
Liveright Publishing Corporation, $24.95 January
The Secret of Magic by Deborah Johnson
Amy Einhorn Books, $26.95 January
Without Mercy: The Stunning True Story of Race, Crime, and Corruption in the Deep South by David Beasley
St. Martin’s Press, $26.99 January
This Dark Road to Mercy by Wiley Cash
William Morrow & Company, $25.99 January
The Ghosts of Tupelo Landing by Sheila Turnage
Kathy Dawson Books, $16.99 February
One Way Out: The Inside History of the Allman Brothers Band by Alan Paul
St. Martin's Press, $29.99 February
A Snicker of Magic by Natalie Lloyd
Scholastic Press, $16.99 February
Long Man by Amy Greene
Knopf Publishing Group, $25.95 February
Down South: Bourbon, Pork, Gulf Shrimp & Second Helpings of Everything by Donald Link
Clarkson Potter, $35.00 February
Okra Picks are chosen by Southern Indie Booksellers each season as the upcoming southern titles they are most looking forward to hand selling. For more information visit sibaweb.com/okra.
- Published on Sunday, 01 December 2013 16:01
Meet Jeff High, author of More Things in Heaven and Earth
After growing up on a farm in rural Tennessee, Jeff High attained degrees in literature and nursing. He is the three-time winner, in fiction and poetry, of an annual writing contest held by Vanderbilt Medical Center. He lived in Nashville for many years, and throughout the country as a travel nurse, before returning to his original hometown, near where he now works as an operating room RN in open-heart surgery.
His first novel, More Things in Heaven and Earth, is also the first in a new series set in the fictional Watervalley, Tennessee.
As an ambitious young doctor with a penchant for research, Luke Bradford never wanted to set up practice in a remote rural town. But to pay back his student loans and to fulfill a promise from his past, he heads for Watervalley, Tennessee—and immediately stumbles into one disaster after another. Will he be labeled the town idiot before he’s even introduced as the new doctor?
Very quickly he faces some big challenges—from resuscitating a three-hundred-pound farmer who goes into cardiac arrest to not getting shot by a local misanthrope for trespassing. He expects the people of Watervalley to be simple, but finds his relationships with them are complicated, whether he’s interacting with his bossy but devout housekeeper, the attractive schoolteacher he consistently alienates, or the mysterious kid next door who climbs trees while wearing a bike helmet.
When a baffling flu epidemic hits Watervalley, Luke faces his ultimate test. Whether the community embraces him or not, it’s his responsibility to save them. And he’ll soon discover that while living in a small town may not be what he wants, it may be just what he needs…
Favorite book as a child?
Treasure Island! I mean, come on, who doesn’t love Robert Louis Stevenson.
What are you reading right now?
Fingal O’Reilly, Irish Country Doctor, by Patrick Taylor. We both write about doctor’s in a small town and have become good friends.
Why independent bookstores matter?
Because even imaginary places like Watervalley, Tennessee need bookstores with imagination.
Favorite part of writing a book?
Writing words that genuinely make you laugh and unexpectedly make you cry.
Least favorite part of writing a book?
Knowing when you have made it the best it can be. I am a tormented rewriter, constantly, continuously, searching for the perfect sentence.
Are you working on anything new?
Yes, the sequel to “More Things in Heaven and Earth,” called “Each Shining Hour.”
Comment on the writing life...
At the end of the day, it’s just work. It requires discipline, focus, tenacity. But if you love it… it can be oh so wonderful work!
Hardest part of the creation to publication experience?
There’s a lot of waiting the process… waiting for edits, waiting for pub dates, waiting sales info, …waiting for this sentence to end.
Why do you write?
Because I tried being other things like, you know, a ninja, cowboy, test pilot, neurosurgeon… all boring. Writing is the real challenge.
When did you know you were a writer?
Without a doubt… when I was fifteen or sixteen. That was forty years ago. Okay, I’m kind of a procrastinator.
- Published on Monday, 21 October 2013 21:49
Jamie: This book obviously draws a lot from your actual life, and your experiences with relatives at Highland Hospital in Asheville, N.C. I’m sure a lot of this material had to have been pretty charged, emotionally. How and when did the muse for this book “find you;” was there a moment when you knew that this was the right time to write Guests on Earth?
Lee: For me, each novel comes from deep within my whole life as I have lived it up until that point—there will always be some idea, some image or emotion or experience that just won’t go away, rising to the top rather than receding in memory as the years pass….and then there will come that moment when it finds its own time. By which I mean, that point when you start thinking about it all the time and you know you have GOT to start writing that book. It’s like somebody is holding a gun to your head.
This is exactly how it was with Guests on Earth. And it took many years to get to that point, even though the visual image which started it all was perhaps the most dramatic I have ever witnessed.
Asheville, N.C. , late 1980s. My son Josh and I were walking up Zillicoa Avenue toward the mountaintop mental hospital during a particularly brilliant winter sunset. The entire arc of the sky shone red behind the crenellated battlements of castle-like Homewood, one of Highland’s most interesting older buildings. Of course this reminded me of the dreadful fire of 1948 which killed Zelda Fitzgerald and eight other women.
I had just been reading a collection of the Fitzgeralds’ letters, and some of Scott’s words written during their courtship came back to haunt me, too: “I used to wonder why they kept Princesses in towers,” the romantic young officer had written to his Alabama beauty Zelda Sayre, repeating the image he was obsessed with, wanting to keep her all for himself.
She had replied, “Scott, I get so damned tired of being told that—you’ve written that verbatim, in your last six letters!”
So the notion of an imprisoned Southern princess became a part of the dramatic image of the red sunset, the battlements, the fire. Okay, I thought at the time—this is going to be a novel, and I am going to write it. Whenever I can stand it were the words I did not say then, meaning whenever Josh gets better, whenever I can gain enough distance and perspective on this place and all the people who have lived here. I wanted to honor these special “guests on earth,” and show that very real lives are lived within these illnesses. That took a long time, in part because Josh (who did get better) died of a heart attack at 34, making this material very charged for me; but finally here is the novel, ten years after his death, and 65 years after Zelda’s.
Jamie: A lot of this story hinges on Zelda Fitzgerald, who has become almost mythical of late. When did you first find yourself drawn to her, and why? What makes her such a compelling character?
Lee: I have always thought of Zelda as mythic, iconic, larger than life. Like so many other English majors, I can’t even remember a time when I wasn’t in love with the Fitzgeralds—both of them—the brilliant novelist F. Scott and his glamorous, flamboyant wife Zelda. I read The Great Gatsby over and over again. I also read everything else I could find written by them or about them, our first truly American celebrity couple, quivering at Zelda’s declaration: “ I want to love first, and live incidentally.” Well, me too! I wanted to be her. I was fascinated by Zelda’s zaniness, her Southern-ness, her frank sexuality and utter disregard of custom and rules as they lived uproariously in hotels and rented rooms in several countries. Zelda seemed to represent everything exciting and nonconformist. But the gilded life turned dark, then much darker, as alcoholism, infidelity, and mental illness took their toll. Now their lives became symbolic—the dark side of that lucky, shining coin. The parallel to Gatsby’s tragedy was clear, too—great wealth and good fortune can end in utter ruin. Theirs was a particularly American story, and a truly tragic fall.
Jamie: A follow up to the previous question: why not zoom in entirely on Zelda? What made you choose Evalina for this story’s central voice?
Lee: Zelda Fitzgerald’s voice is one of the most distinct in all literature—her imagistic, impressionistic style is more like Virginia Woolf’s than anyone else’s. She uses a wild kind of synesthesia, mixing up all the senses at once, so that trees dance and hours march and flowers speak. Past and present merge, as logic and tense fly out the window. See? It’s sort of catching, and now I’m doing it myself….well, I do attempt to write from her point of view briefly, several times in this novel. But frankly I have too much respect for Zelda Fitzgerald to copy her style and steal her voice in this way throughout. Scott did enough of that already!
The second reason is that the more I learned about the unsolved mystery of the fire and about the hospital itself—the kinds of remedies and theories in vogue at the time, and the kinds of people (especially women) who were sent there, I realized that I had a larger story to tell. So I chose another narrator—a young piano prodigy who becomes the accompanist for the many theatrical and musical events happening at the hospital, thereby gaining entrée into all these interesting lives .I’ve always like this observer-as-narrator point of view….like Nick Carraway in Gatsby.
Jamie: As an indie bookstore, I must ask: what role have the Mom & Pops played in your success?
Lee: Listen, I’m a merchant’s daughter! My father ran his own dimestore in southwest Virginia for 52 years, never closing despite continuing floods and lack of business; he died on the last day of his going-out-of-business sale. This is true. I was there. From the time I could walk, I loved to “go down to the store” with Daddy, often sleeping on a pallet underneath his knothole desk while he worked far into the night. Struggling to keep afloat, he used to do everything himself. I always worked there, even as a little girl, when my job was “taking care of the dolls.” So I have the greatest interest and appreciation for the “Mom & Pops.” Furthermore, I know that the independent bookstores have been solely responsible for whatever success I might have had over all these years—I ‘ve never been able to write “blockbusters” or the kind of suspenseful novels that reach a mass market. I have written exactly what I wanted to, frankly, or had to, or loved. Writing is my passion, my addiction, my religion. Writing is how I live. So I owe everything to the Mom & Pops. I know that Indy booksellers have told people about my books, again and again. I envision my books being literally taken off a shelf and handed over—hand to hand— from a bookseller to a reader who would not have known about them otherwise. This is still true. Thank you.
Jamie: You’ve published so many wonderful books, so I wonder—do you still get nerves? What’s the best part about releasing a novel (and the worst)?
Lee: The answer is, Lord yes! I am a complete wreck right now. I love to write, but I hate to publish. Because once it’s out, it’s not your own book any more…you lose all these people that you’ve been living with so intimately every day for four or five years, people that you know better than your own relatives….Right up until the very minute that you finish the novel, these people are real, active, on the page and in your head. No matter what you’ve got in your outline, the truth is that they can still just up and do anything. Anything! But once you finish their book, that’s the end of them. Their time is past, their lives are over. You’ve killed them, and it feels really horrible.
The good part of releasing a novel is that you get to go out of your room (where you have spent the last several years writing the book) and meet some REAL PEOPLE! I think this is very important, to meet your readers and talk with them and get their take on everything. Because writing IS a means of communication, remember— a two-way transaction—it ‘s like a see-saw. It requires a reader on the other side. And it is such a treat to talk with the readers. This is the best part of a book tour.
Jamie: Guests On Earth follows a long and important tradition of chronicling mental health and institutionalization in fiction. Do you have any favorite works of fiction or reportage that deal with mental health? What makes them great, to you?
Lee: There are number of excellent novels and memoirs dealing with mental illness and its treatment. To my mind, this is a very important body of literature—probably the MOST important way to de-stigmatize these illnesses and understand those who deal with them, patients and families alike. These books give mental illness a human face—and a beating heart. We come to know and care for these characters and narrators; we stop seeing them as other. And the truth is, with serious mental illness present in 2 out of 5 American families, they aren’t other: they are US!
Over the years, some of my favorites have included:
The Yellow Wallpaper by Charlotte Perkins Gilman
One Flew Over the Cuckoo’s Nest by Ken Kesey
I Never Promised You a Rose Garden by Hannah Green
The Bell Jar by Sylvia Plath
Darkness Visible, a memoir by William Styron
More recent books include:
Girl, Interrupted, by Susanna Kaysen
The Silver Linings Playbook, by Matthew Quick
And a very recent memoir: Haldol and Hyacinths by Melody Moezzi
Jamie: How has teaching writing in NC State’s writing program impacted your own work? Do you find inspiration in your students’ work and feedback?
Lee: After starting out as a newspaper reporter, I taught writing for 30 years, the last 19 of them at North Carolina State, which I loved. I took early retirement in order to have more time for my own work—because the energy you put into your students’ work is the same energy you put into your own—-and there is a diminishing amount of that as you get older. But I LOVED teaching—and still do, at frequent workshops and “visiting writer” stints here and there. I feel more comfortable in the classroom than anyplace else on earth. I am always energized by young people—and frankly, I’ve learned more from my students over the years than they have ever learned from me! It has been a privilege and a pleasure.
Jamie: What’s your writing process like? How has it evolved since you started writing?
Lee: I write best in the early morning, before the concerns of the day come crowding in. I never check my email before I start. Finding that isolated “time to write” is actually the hardest thing about being a writer—especially at first, before you’re published, when it’s hard to justify the time it takes, which is a LOT of time. There’s always something else you ought to be doing, such as the laundry or taking your mother-in-law out for lunch. I tell my students, just remember: A writer is somebody who is writing, not somebody who is publishing. And over the years, I have come to understand that publishing may be the least important aspect of writing, anyhow. The writing process itself is therapeutic, whether we are writing fiction or poetry or in our journals. Simply putting down words in some order on the white page helps us clarify our own thoughts and understand ourselves and others so much better. Even lists are helpful. Fiction is my own preferred form; I have always written fiction, I think, the way others write in their diaries.
My stories and novels reflect all the phases and stages of my own life. Of course, I am NOT my characters—though they are often going through some of the same things I was when I wrote that particular story. But my characters are braver than I am. They tend to live passionately—“full tilt boogie” as we used to say in the mountains where I grew up—making decisions and doing things that I would not. At my age now, I am more interested in the “long haul” than the transcendant moment, that epiphany which is the province of the poet and the young writer. So my later stories (in Mrs. Darcy and the Blue-Eyed Stranger) are often about long marriages, how they change over time, or the relationship of the past to the present. I could never have written these stories as a younger woman. Similarly, perhaps, the historical novel has now become my preferred genre—I am fascinated by the working of time throughout our lives—expectation versus reality, who we imagine we will be versus who we really become. And what about fate? Or accident? Or character?—is it a constant or does it depend upon what befalls us? History so often sweeps us up, beyond our control. These are big themes and it takes a large canvas to work through them.
.......And now, I’ve got to quit answering these excellent questions and start packing my suitcase, because my book tour starts tomorrow (October 8th), fittingly at Malaprops in Asheville, where “Guests on Earth” takes place ………….so I’ll see you there, or at Quail Ridge in Raleigh or Flyleaf in Chapel Hill or the Fountain Bookstore in Richmond or Joseph Beth in Lexington or Alabama Booksmith in Birmingham ….….I look forward to seeing every one of you someplace along the way, and I thank you from the bottom of my heart. Let’s sell some books!
Love from the merchant’s daughter,
- Published on Friday, 27 September 2013 23:38
My Heroes Have Always Been Cowboys
Michael Farris Smith
I did a brief stint in Oxford, Mississippi back in 1997. I lived a half block off the Square, in a big house divided up into apartments, right across the street from the original office of The Oxford-American. One evening I walked over to Square Books, for the first time, and on the front table I found a story collection called Big, Bad Love, and a novella titled Ray. This was my introduction to both Larry Brown and Barry Hannah.
By the time I went to sleep that night, whatever time that was, I had devoured both books. Inhaled them. Loved them and immediately loved the writers who had written with such striking, beautiful prose. I remember that what kept occurring to me as I read was the notion that I knew the people they were writing about. I knew those winding, dark, bumpy back roads. I knew the dimly lit bars and cheap brands of bourbon and the feelings of loneliness and wonder that these characters were experiencing. It was only recently that I had become a reader and most of what I had read were the big names. Hemingway, Faulkner, Dickens, Fitzgerald. Those were the only names I recognized. But when I met the stories of Larry Brown and Barry Hannah, I realized what it meant to be a Southern writer in the here and now. I knew their Mississippi first hand and it shook me.
What I didn’t know, but now realize, is that was the beginnings of my becoming a writer. I didn’t start writing for another couple of years, but that feeling was in me, and the nights I later spent on the balcony of Square Books, drinking coffee and reading more Brown and Hannah, and then William Gay and Richard Yates and Harry Crews, those nights and those writers and their stories had gotten into me and were not to let go. Literary Cowboys, that’s what they were to me. And the more I read of the Southern grit, the more I found in myself and my own landscape.
It wasn’t only the fiction of Brown and Hannah and others like them that influenced me, but I have been just as inspired by reading their interviews, and listening to what they had to say about the struggle. The time it took to get someone to accept their stories, to read their novels, to accept them out there somewhere. Hannah called writing a matter of life and death. Brown described the years of rejection and the burned manuscripts in his backyard. They both preached stamina, belief, loving the work no matter what the end result. During my learning years (which are still ongoing and I suspect they will always be), their notions of hanging on, and believing in your work stuck with me as I went through the rejection and gnashing of teeth that all writers experience. From afar, they kept me going through both their work and encouragement.
Eventually, all of this led to some published stories, and then my Paris novella The Hands of Strangers, and now Rivers. My own Mississippi novel. And when it came time to look for other writers to share the manuscript with, to ask for blurbs, to say, “Hey, man. You’ve really influenced me,” the Literary Cowboys were no longer around. Larry Brown, Barry Hannah, Harry Crews, William Gay. Those were the first names that came into my head, and it was bittersweet to know they were gone.
But we move on and try to carry the torch, knowing what giant boots these are to fill. And I think about that evening back in 1997, when I had nothing to do, and the last light fell across the quaint Mississippi town, and I meandered over to the independent bookstore and began to look around. Get ready, is what I would say to myself now. There they are.
Michael Farris Smith has been awarded the Transatlantic Review Award, Brick Streets Press Short Story Award, Mississippi Arts Commission Literary Arts Fellowship, and the Alabama Arts Council Fellowship Award for Literature. He is a graduate of Mississippi State and the Center for Writers at Southern Miss. He lives in Columbus, Mississippi, with his wife and two daughters. His first novel, Rivers, was published by Simon & Schuster in September 2013.