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In Wiley Cash's new novel, The Last Ballad, it is 1929 and the labor movement is trying to organize in North Carolina. Somehow Ella May finds the courage and resolve to fight to make things better for her children and the people who share her life of poverty and powerlessness. Cash captures the sounds and draws the pictures so beautifully that these people and their stories become real. It is heartbreaking to read what will push men and women to risk their lives for a common good but it is inspiring and gives us hope.
The Last Ballad by Wiley Cash ($26.99*, William Morrow), recommended by Quail Ridge Books, Raleigh, NC.
A Fall 2017 Okra Pick
*Reflects list price. Local store price may vary.>>MORE EAD THIS!
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In which Mr. Steve Berry has no time to eat or sleep because, research! Ms. Nic Stone wonders what Dr. Martin Luther King would say and writes a book to find out, and her ladyship, the editor, listens to mill worker protest songs.
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It’s 1939, and the federal government has sent USDA agent Virginia Furman into the North Carolina mountains to instruct families on modernizing their homes and farms. There she meets farm wife Irenie Lambey, who is immediately drawn to the lady agent’s self-possession. Already, cracks are emerging in Irenie’s fragile marriage to Brodis, an ex-logger turned fundamentalist preacher: She has taken to night ramblings through the woods to escape her husband’s bed, storing strange keepsakes in a mountain cavern. To Brodis, these are all the signs that Irenie—tiptoeing through the dark in her billowing white nightshirt—is practicing black magic.
When Irenie slips back into bed with a kind of supernatural stealth, Brodis senses that a certain evil has entered his life, linked to the lady agent, or perhaps to other, more sinister forces.
Working in the stylistic terrain of Amy Greene and Bonnie Jo Campbell, this mesmerizing debut by Julia Franks is the story of a woman intrigued by the possibility of change, escape, and reproductive choice—stalked by a Bible-haunted man who fears his government and stakes his integrity upon an older way of life. As Brodis chases his demons, he brings about a final act of violence that shakes the entire valley. In this spellbinding Southern story, Franks bares the myths and mysteries that modernity can’t quite dispel.
FICTION: Literary | Over the Plain Houses by Julia Franks (Hub City Press, 9781938235214) | BUY FROM AN INDIE
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So, this is one of those interview questions, right? If you could recommend any book that changed your life, what would it be? This is the question that you prepare for. You never know when it might be asked of you, so you need to make sure when it is asked, that it blows the socks off the person asking. Do you pick something that is dense and difficult to read, and therefore meant to impress the person with your intellect (or really your attention span, because clearly that is really what is most flexed). Or do you pick something seminal, something that was part of a zeitgeist of sorts? Ahh yes, they'll say and immediately connect with you over it. I was a Freshman when that came out. Everyone was talking about it. I'd never known books could resonate like a gong through an entire populace until that moment. That was the moment I truly understood the power of the written word. Or are we just honest about what we love, even if no one else on earth has read it?
What I realized about this question is that, similar to the books themselves, the experience of being asked this question is subjective. It's really all tied up in how and why the question is asked (are we looking to judge by asking the question) and also the life experience of the person being asked. Therefore, knowing I was going to write a short essay on this subject for Lady Banks, I decided to go out into my community and see what the common themes were. The answers may surprise you, but the reasons for the answers won't.
Hands down the most popular answer was To Kill a Mockingbird. Of course, you'd all agree this was an important book (and should have been left as one book – but that's another opinion for another time). What was interesting, however, is people who read it out of choice, rather than when it was an assigned school book, seemed to have a more visceral reaction to how it affected them. One even going so far as to say 'it spoke to my soul.'
One woman gave me an answer that helped me understand more about her than I'd learned in the last two years of our acquaintance. Her answer: The Dance of the Dissident Daughter by Sue Monk Kidd. Her reason: "I was raised Southern Baptist, this book showed me that there are many paths in the spiritual world, and it's alright to choose the one that works for you." Wow. How much power books hold! Another friend confessed that she'd never been introduced to reading in her home life. No one in her family read on their own, and certainly not to her. When she was grown, she was in a bad place (and not because she'd never read a book, ha! A legitimately bad life place). A friend gave her, of all things, a copy of Twilight. She got lost in another world, and hasn't stopped reading since, and no genre has been left unsampled. As far as she's concerned that book didn't just change her life, it saved her life.
My heroine in THE INDIGO GIRL, the real-life Eliza Lucas, was a very busy teenage girl. She was left in charge of her family's business affairs, and she had to turn a profit. But she also adored reading, and spent much time pilfering the ancient Greeks and other philosophers out of Charles Pinckney's library. Her early letters to her younger brothers showed insight and thoughtful expression of the philosophy she'd read, and her children ended up being founding fathers of our great nation. She read something in those books that helped shape the person she became, and also the sons she raised.
My favorite thing about indie bookstores is how they grow to know their communities. And now, when someone comes in browsing, think about that day in the past when that person picked up a book that changed their life. Will you wonder what it was? Will you ask? Or perhaps that day is today, maybe the next book you recommend will be the one that changes their life.
You may have noticed I didn't answer the question myself. If I meet you at your independent bookstore, you can ask me!
Browsing the shelves of libraries, book stores and book stalls is one of my favorite things to do. Over the years I have happened upon rare books, books by long forgotten authors and authors unknown at least to me, and have found both delight in discovery and hours of happy reading. So when a well-tailored fellow from Amazon stepped up to the dais of a writers' conference lunch recently and in a cheerful voice declared the end of browsing, I was horrified. He was not, of course, talking about internet browsing. He was talking about my kind of browsing.
Scanning real shelves for physical books is for me the most satisfying way to find literary treasures. A few days ago I stopped by Flyleaf Books in Chapel Hill and was captivated by a little girl who was sitting cross-legged on the floor of the children's section, reading a book she had pulled from the lower shelves. She didn't once look up while people walked around her.
Years ago that little girl was me. Every Tuesday night after dinner my parents would take me to our local library, and while they went off to look at grown-up books, I would run to the children's room and begin browsing through the biography section. Books about little girls who grew up to do great things were my favorite. The biographies of Madam Currie, Louisa May Alcott and Susan B. Anthony all inspired me with a sense of possibility. I discovered fiction on those Tuesday nights too. I'm sure I owe my life-long enthusiasm for mysteries and thrillers to the volumes of Nancy Drew and The Hardy Boys that I found on neighboring shelves.
While writing papers in college I often searched the library stacks for a book I had found listed in a bibliography only to discover that the book beside that book had even richer material for my research project. Had I been looking for the book online, as efficient as that method may be, I would have found only that book and most likely missed the memories and letters of little-known men and women whose valuable observations added unique perspectives to whatever subject I was pursuing.
Later as impoverished graduate students in New York City I and my friends spent many happy hours browsing in the second hand book stores on Broadway. We were thrilled when we chanced upon often out-of-print volumes whose prices fit out meager budgets. I would not otherwise have happened upon books like Anthony Trollope's The Way We Live Now or the lesser works of Mark Twain that I still have in my bookcase today.
I will continue to enjoy browsing the shelves of libraries and bookstores and hope that the unwelcome prediction of the man from Amazon is wrong or at least will not come to pass in my lifetime. How sad it would be if the little girl in Flyleaf Books and children everywhere were unable to find new worlds while discovering the delights of browsing.
The harvest is in! The 2017 Fall Okra Picks have been selected by Southern Indie Booksellers--a season's worth of delicious reading with a Southern flavor.
All the Okra Picks have a strong Southern focus and publish between October and December, and all have fans among Southern indie booksellers--who have chosen these dozen books as those they are most excited to hand sell. They all have that magical quality that makes readers want push them into the hands of friends and family: the quality of "You've got to read this!"
The Fonville Winans Cookbook: Recipes and Photographs from a Louisiana Artist by Cynthia LeJeune Nobles and Melinda Risch Winans
The Last Ballad by Wiley Cash
The Indigo Girl by Natasha Boyd
Heating & Cooling: 52 Micro-Memoirs by Beth Ann Fennelly
Tales of a Cosmic Possum: From the Appalachia Mountains to the Cotton Mills by Sheila Ingle
Hotel Scarface: Where Cocaine Cowboys Partied and Plotted to Control Miami by Roben Farzad
Dear Martin by Nic Stone
The Art of Loading Brush: New Agrarian Writings by Wendell Berry
Heaven's Crooked Finger by Hank Early
Perennials by Julie Cantrell
The Sisters of Glass Ferry by Kim Michele Richardson
The Ice House by Laura Lee Smith
A Murder for the Books by Victoria Gilbert
Find more information about the Okra Picks at AuthorsRoundtheSouth.com/okra
As the winner of the inaugural Conroy Legacy Award, it's not surprising to learn that even as a two-year-old, Kwame Alexander intimidated others with his words. When a pre-school classmate knocked over his carefully constructed tower of blocks, Alexander expressed his understandable anger not with shoves, but with rhymes repurposed from Dr. Seuss's Fox in Socks.
Now the poet/novelist/speaker draws on a lifetime reading and writing books and poetry not to intimidate with his words, but to connect, encourage, and inspire. In a thoughtful interview at the #SIBA17 Discovery Show in New Orleans with Erica Merrell, SIBA board member and owner of Wild Iris Books in Gainesville, Alexander shared his love of literature, the power of poetry to tame the rowdy tween, the importance of family, and his deep admiration of Pat Conroy. And like Conroy, or any true master of words, he wove each strand into a compelling whole.
Growing up in a book centered family--his parents wrote, taught, sold books--Alexander had to be lovingly persuaded to share his parents' enthusiasm. "I hated books. I hated them because I was immersed in them," he said.
However, early encounters with activism and social justice led him to discover the power of his own voice. When his father took him to march on the Brooklyn Bridge to protest police violence, Alexander felt his initial fear subside as his connection to the crowd and its message grew. "I began to find my voice. I began to raise my voice. I'm an activist, because I'm a human being."
When asked about the impact Pat Conroy had on his writing and life, Alexander recalls reading Conroy's cookbook and feeling drawn to the author's expansive, inclusive view of friends, family, and the writing community. "I want to live that life," he said, laughing. "I want to make shrimp and grits for my friends."
Alexander also noted Conroy's tireless work on behalf of other writers, and commitment to building the literary community. But perhaps most of all, Alexander valued Conroy's bone-deep authenticity, and the way his voice informed all of his writing. After quoting passages from the poet Pablo Neruda, Alexander commented about both the poet and Conroy, "You cannot read either writer and how they make the words dance on the page, and not know them."
In his book-centered family, he found plenty to read that fired his imagination and focused his voice, particulary in poetry. As a student at Virginia Tech University, Alexander studied with Nikki Giovanni. Though he wryly described their relationship as complex, Giovanni deeply informed his work, first as a challenging teacher and then powerful mentor, and finally as a friend. In his youthful quest to follow in Langston Hughes's footsteps after the publication of The Weary Blues in 1926, Alexander self-published his own poetry collection and criss-crossed the country to read and sell his work.
But soon, Alexander's poetry expanded into prose, and just as he found his voice when lifting it in protest, his work found new purpose as it spoke directly to young people--especially young people whose own voices and experiences were often ignored or rejected. Since the publication of his Newbery award-winning novel, The Crossover, in 2014, Alexander has made hundreds of school appearances. Follow-up books for children, middle-grade readers, and young adults (his novel-in-verse Solo came out August 2017) embody his belief that the best way to connect to and inspire young people is with literature, especially those who seem the hardest to reach.
"Find a way to keep them in the room," he said. "Books are doing the work to reach them--find kids where they are, make literature available." When asked how to reach young boys in particular, Alexander immediately recommended poetry. "It's concise, it's action oriented, it's easy to connect to excitement."
Alexander was also quick to highlight the role of independent bookstores in creating and sustaining an accessible community of writers, readers, young people, and adults. "Bookstores bridge the gap between community and commerce," he said. "Bookstores mean community and home--the spirit of community and home."
Family, home, community, books, and making the words dance on the page: the things that Kwame Alexander brings to his work and his world.
Kwame Alexander, the Virginia-based poet, educator, and New York Times bestselling author, has been selected as the first recipient of the Conroy Legacy Award.
Created in honor of the example set by the beloved Southern author Pat Conroy, the Conroy Legacy Award was established in 2017 to recognize writers who have achieved a lasting impact on their literary community, demonstrating support for independent bookstores, both in their own communities and in general, writing that focuses significantly on their home place, and support of other writers, especially new and emerging authors.
"I met Pat once," said Alexander on being informed of his selection, "He was witty, connected, caring, and a brilliant storyteller–as much in person as he was on the page. He was all the things a writer should want to be. All the things I've wanted to be. I am filled with wonderment and humbled deeply to be honored in his remembrance."
Kwame Alexander was chosen to be the first Conroy Legacy Award winner by a jury of Southern independent booksellers. Alexander is the author of 24 books, including The Crossover, which received the 2015 John Newbery Medal for the Most Distinguished Contribution to American literature for Children, the Coretta Scott King Author Award Honor, The NCTE Charlotte Huck Honor, the Lee Bennett Hopkins Poetry Award, and the Paterson Poetry Prize. Kwame writes for children of all ages and believes poetry can change the world.
"Kwame Alexander is at the forefront when it comes to mentoring the next generation of writers, not just in the US but worldwide," says Hillary Barrineau, of Hooray 4 Books in Alexandria, Virginia. "He won a Newbery Award , which means not only The Crossover but also many of his other 23 books [essays, collections, poetry, and novels] are in every school and library in the US. Notably, they are set in Virginia, where he was born and raised, but clearly resonate with readers everywhere."
"When he visits schools across the country," she continued, "he makes a point of coordinating when possible with the local indie bookstores to provide the books at his events. The year he won the Newbery, he attended our bookstore's "Grand Expansion Party," driving here directly from his daughter's wedding earlier that day." Alexander also spearheads the Page to Stage Writing Workshop, which has created more than 3,000 student authors in nearly 70 schools in the US, Canada, and Caribbean, and he recently led a delegation of 20 writers and activists to Ghana, where they built and stocked a library and trained 300 teachers to promote literacy in that country.
"We are thrilled to have Kwame Alexander as our first Conroy Legacy Award recipient," said SIBA Executive Director Wanda Jewell. "He is exactly the kind of writer the award seeks to honor. Our booksellers love his books, his support of independent bookstores is well known, his commitment to his own community and to fostering a love of writing and literature–especially among young people–is legendary. I think Pat Conroy would be very pleased."
Both a donation to the Pat Conroy Literary Center and a donation to a literary entity close to the heart of the writer will be made in the name of the Legacy Award recipient.
Lady Banks Interview
PATTI CALLAHAN HENRY:
Our books are both intergenerational — your important characters range from about 19 to 91. Or preschool, if we count George. Meanwhile, I have a pubescent niece and two grammas who are 89 and 90.
Since my narrator has fetched up pregnant after accidentally tumbling into bed with anonymous Batman at a Comics Book convention, I even have a fetus — we have to count my Future Baby Digby if we count your George.
Also, these are books about women with agency. Women who act instead of being acted upon or simply reacting to circumstances. This, of course, gets them into worlds of trouble, but isn't that what makes them fun?
PCH: Southern small towns have always played an integral part in your family stories, but in THE ALMOST SISTERS, the town is a living, breathing soul. Birchville is a thumping and conflicted heart, beating smack dab in the middle of this family and this story. Tell me about the inspiration behind this town, and the Birch family who live there.
JJ: It's meant to be an Everytown. I did map it over the landscape and history of a real small town, Dadeville, AL. It sits about where Birchville is, and it too was founded by a wealthy family just after the civil war on the bones of a burned out Alabama town. I didn't want to call it Dadeville or use real Dadeville streets or businesses. Dadeville isn't like Paris. Everyone has seen Paris! Maybe not in person, but definitely via books and movies and pictures. So when you write Paris, you have to invoke actual Paris — or at least pieces of it — because it is so familiar to us all.
Not everyone has been to Dadeville. But a lot of folks, citified me included, grew up in the small town South and still have beloved relatives there. I wanted to Birchville to feel like home to anyone who grew up the way I did, and, and also be real enough to give city people and northern people and western people a genuine feel for our patch of country: the strong sense of community, the unspoken rules we all know, the pervasive interest in everybody's everything, and, most of all, the way that one person's secret, when it rises, touches every life around it.
PCH: When I met Violet and Violence (the comic book characters written by your protagonist, Leia Birch) I was blown away. The graphic novel character, Violence, is so vivid and so powerful. Have you ever wanted to write a comic book? Have you been an artist? Where did this idea come from?
JJ: Oh Lord, I can't draw a lick. It came from a couple of places — first, my brother is a nerd-artist. He makes his living sculpting the models that gamers use to play role playing and strategy games. He's very well-known; he was one of the first miniature artists to have their name on their pieces. I grew up basking in his dork-shadow, playing D and D and Info-Com games and reading pulp fiction and comic books, and so this is a shout-out to my fellow dorks. Plus, if you have a favorite Dr. Who, or if you watched Buffy — there are little Easter Eggs hidden here and there. Don't worry, if you aren't a geek, they won't stand out and bother you.
Lastly, if you have been reading me for a bit, you know I like a story-within-a-story structure. V in V acts like a fairy tale or a story out of mythology — I use its images to light up what is happening thematically in the world of the book.
PCH: The theme of an "Origin Story" is a thread that binds this novel together. Not only do we want to understand the origin of Violence (in the comic book) but also of everyone else in the novel. It prodded me to ask what I believed of my own origins. If something begins badly, must it stay so? Did you intend to delve into this subject or was it an outgrowth of the story?
JJ: That's very astute; I am so glad this shines out — yes, it was very deliberate. In fact, my working title was Origin Story, which is a comic book industry term that means "How a superhero comes to have his or her powers." Wonder Woman is secretly an Amazon Princess, The Hulk was exposed to Gamma Radiation, etc.
I still love that title, because it is about more than comic books, of course. It invokes a world view where our beginnings are alive in our present. While I wouldn't say that a bad start means a bad end, history echoes, for good or ill. If we don't understand where we come from, we can't understand ourselves. We are living inside history, in both the wreckage of ancient bad choices and the palaces that long-spent kindness built. THE ALMOST SISTERS is about how that plays out in one small town with a lot of bad history.
PCH: In this story, you often touch on the idea of a "Second South" and what that will and does mean for Leia's unborn child. Do you see a "Second South"? Did you see one growing up all over the South and if so, did it influence your life?
JJ: I wish I had been all baby-woke and a prodigy so I could nod wisely here, but the truth is? No. No, I didn't. It's hard to see when you are young, and you grew up soaking in it. I did not write about the south at all when I lived in it. I think I became aware when I moved to Chicago for grad school.
Being outside my homeland gave me a different view. I was able to see our flaws and strengths, our beauties and our horrors, more clearly. I realized how weird we are.
Part of what I do is try to capture this culture, because I love it. If I seem critical of us at times, I get to be. Because I am us. I am in it and of it, and I love it. When you are invested in an us, you want that us to be good, and noble, and better.
PCH: Grandma Birch is suffering with Lewey Bodies, and these are then written into Leia's graphic novel. I do believe that we often alchemize parts of our lives in our fiction. But this is your character alchemizing her life into art. Do you believe we (sometimes subconsciously) work our life into our art?
JJ: Exactly. I always say, none of my characters are me, but they are all mine. I have to go way down into the salty undermarshes of my own mental illness to find the best stories. I went deep on this one...
PCH: This line kicked the breath right out of me. "You can't go around holding the worst thing you ever did in your hand, staring at it. You gotta cook supper, put gas in the car. You gotta plant more zinnias." Wow! Exactly. Tell me about how this line zapped out of you like this, and how it relates to the rest of the story.
JJ: Birchie's best friend from childhood, Wattie Price, says it, and "zapped out" is a great description. Sometimes, when I am writing—on the best days — it feels like there is something external happening. Like it isn't coming from me, it is coming from someplace Other. Those words landed as if Wattie had said them on her own recognizance. I was surprised to see the words appear. I heard her say them, in my head, as I read what I had written. It echoed, internally, in a way that has happened before, but not often.
I stopped writing and just sat and stared into space for a long time, then opened a new file and jotted four paragraphs down. Someone new, named Amy, talking to someone I have known a long time, named Roux.
Basically, Wattie's speech started a whole 'nother book in my head. I couldn't get to it then, because I was so deeply invested in THE ALMOST SISTERS, but it's the book I am writing right now.
JOSHILYN JACKSON: PCH, when I realized we had the same release date, I was excited about planning launch parties together because we have been friends for so long, I read your books for pleasure, and you are more fun than a bucket of puppies. Then I read THE BOOKSHOP AT WATER'S END and I became a different kind of excited – I think these books ping off each other in a multitude of ways. Do you see any intersections?
PATTI CALLAHAN HENRY: Oh, Joshilyn! I too was so thrilled we had simultaneous release dates—we've supported each other's work for almost fifteen years now. Yes, I saw so many intersections, even while our stories appear to be completely different in tone and subject matter. We both chose small towns and ancestral homes to ground our stories in the past as well as the present. We both wrote about women who are "sisters" with someone who isn't quite a sister; we delved into the heartache of first loves and that transformational power (for the good and the bad); and we both enriched the story with the power of a woman's calling to not only her family but also her career. This is the power of creativity and story—we touched on the same subjects and wrote two entirely different novels. What wonder writing can be!
JJ: THE BOOKSHOP AT WATER'S END strikes me as intergenerational—I love the fact that women from 19 to 90 have a voice. At the same time, this is a book that is very much about urgency of purpose, which I think is sometimes (wrongfully) seen as a male storyline. The female need to find or retain purpose feels universal in this world—do you think that's true at every life stage? How is it different for lost Piper as the youngest and Bonnie and Lainey, in their middle years? Do you think the eldest, Mimi, is at peace with purpose? Is it possible at any stage?
PCH: Oh, I believe purpose and vitality are integral to our wellbeing and our soul's growth at every stage of life. It was fascinating to write about this from the angle of a 19 year old and a much older woman and in between. What is our purpose? Do we have a calling? These are questions we must all ask ourselves, but sometimes avoid. For Piper, as the youngest, it is about learning not to react to life but engage in it with the Truth of what she wants and who she is. For Bonny and Lainey, it is a re-evaluation, asking what does this purpose mean for us now, in this stage of life? Do we shift or do we enrich? Answering these questions is an internal journey everyone must take. And lastly, for Mimi, the eldest among them, she still works at her bookstore and realizes that her purpose never ends. I'm not sure we can ever be at peace with that driven purpose, or with our calling, but maybe that discontent continually drives us forward to new adventures!
JJ: A lot of key scenes take place in a bookstore, and I know you have a long, deeply invested relationship with Indies. Did bits of any real bookstores make it into your fictional one?
PCH: Indeed! This bookstore in Watersend, South Carolina is an amalgamation of all my favorite Indies, places where I have found not only community but also the just-right-book when I needed it. I took a piece of this, a slice of that and built my very own bookstore at the river's edge. Of course we can't discount my deep and abiding love for the Indies as this is where my career began – with their support for my stories!
JJ: I always say that none of my characters are me, but they are all mine. Can you locate yourself in this book? I think of Bonny as the main character, because she is the hub where all the storylines connect, and she is also where I most easily locate you. Probably because Bonny feels a calling to be a doctor, and I know you began your professional life as a nurse—did you feel that calling? Are all professions a calling? Are you called to be a writer?
PCH: I always say my characters aren't me but they are from me. I only have my compost pile to dig through, although empathy and imagination for my characters are an integral part of the process. I love that you can locate some of me in Bonny because I just loved writing about her, or to be more precise, writing for her. Yes, the way Bonny felt about becoming a doctor was exactly the way I felt about becoming a Pediatric nurse, and how I still feel about the medical vocation (although I've left it for writing). So, I absolutely believe that some professions are "callings" (my dad is a preacher, so callings are a norm when talking about life). I don't know if all professions are callings but I do believe that the careers we are the most passionate about, the ones that demand all of who we are being put on the line, are most definitely callings.
JJ: Bonny and her best friend make underwater wishes as children, and these wishes have come true, in some form or another, by the time the book begins. But not in a tidy or easy way—in fact, for one of your narrators, the urgency and longing for these wishes and the ways in which she may lose them are among the largest conflicts in the book. So for me, this is a book about the gap between what we desire and what we get. Can you talk a little bit about that gap?
PCH: The gap between what we desire and what we get—what a lovely way to sum up the conundrum my characters find themselves in. And not only the gap, but also the way in which we "get" what we believe we want. There will be things and people that we will want, and yet some of those things and people will not be ours to have, and "letting go" is imperative to our happiness. This truth is played out in this novel over and over – whether it is a job or a person or a situation or an answer. Who we become depends in large part in how we react or adjust to this gap.
JJ: I want to ask you about Mimi, possibly my favorite character. She was in THE STORIES WE TELL. I loved her in that book, and I was delighted to run into her again here. Is this the first time a character has stayed with you for multiple books? Why did she stick? Will she be back?
PCH: In twelve novels, this is the first time I've carried a character forward into the next novel (albeit there have been a few cameos). It is because of readers like you that I brought Mimi with me across the great bridge from one book to the next. Over and over I heard how well loved she was in the last novel. And honestly, she had more to say; I had to quiet her so many times in the last book, so this time I let her have her say! I'm not sure she'll be back, but my best guess is yes J
JJ: My favorite quote from this book had me weeping, but I can't share it here. It contains a spoiler! People will have to find their own way to that glorious moment. (It is worth the trip, y'all.) But early in the book, Bonny says something that speaks to your whole body of work—one of the things that makes a book recognizable as yours. She says, Landscape was memory or maybe memory was landscaper. . . Our three childhood summers in Watersend had been more than sun-soaked ellipses between school years, more than vacation. Those days held the making of me. Can you talk a little about this very PCH truth that place/nature shapes us and how this has expressed itself in your body of work?
PCH: Joshilyn! I love that you notice that theme in all my work. Yes! It is often said that setting is a character, and maybe that's true, but for me it is more than a character, it is the essence of the story. The story could not take place anywhere other than where it does or it would be a different story altogether. The setting, the landscape must not only be external but also influence the internal journey of my characters (my people). This has also been true for me in real life, over and over again, the geography of a place becomes part of who I am and what I resonate with and what I desire. I want the same for my novels.
Celebrate Independents! Announcing the 2017 Southern Book Prize Winners
Southern indie booksellers once again demonstrate their independence of mind by choosing an excitingly eclectic collection of books for the 2017 Southern Book Prize.
2017 Southern Book Prize Winners
Mystery & Detective
Southern Stories & Stories by Southerners
Biography, Autobiography, & Memoir
For more information about the Southern Book Prize, visit http://www.authorsroundthesouth.com/read-this/siba-book-awards
The 2017 Summer Okra Picks have been selected: a flavor-filled collection of new Southern books hand-picked by Southern indie booksellers–people with impeccable taste in books...
All Summer Okra picks have a strong Southern focus and publish between July and September, and all have fans among Southern indie booksellers: the people who are always looking out for the next great writer to fill your reading plate. So the next time you visit your local Southern indie bookstore and someone says, "You've got to read this!" and hands you one of these tasty titles, dig in and ask for a second helping. Great books are always good for you!
The Devil's Muse by Bill Loehfelm
The Bookshop at Water's End by Patti Callahan Henry
The Almost Sisters by Joshilyn Jackson
Refugee by Alan Gratz
Shadow of the Lions by Christopher Swann
Blight by Alexandra Duncan
If the Creek Don't Rise by Leah Weiss
A Kind of Freedom by Margaret Wilkerson Sexton
Young Jane Young by Gabrielle Zevin
Rabbit: The Autobiography of Ms. Pat by Patricia Williams
The Hidden Light of Northern Fires by Daren Wang
Sing , Unburied, Sing by Jesmyn Ward
The Salt Line by Holly Goddard Jones