Anne Enright is an Irish fiction writer who has been widely praised for the lyrical quality of her prose and for eccentric characters and heartfelt renderings of modern family life, received the 2007 Man Booker Prize, the British Commonwealth’s most prestigious literary award, for her novel, The Gathering (2007). In that year’s competition, her book was considered a longshot for the prize, but nonetheless was was selected unanimously by the panel of judges. The Gathering was also named “Irish Novel of the Year” at the 2008 Irish Book Awards.
Subsequently, Enright wrote and published more novels, including The Forgotten Waltz (2012) which won the Andrew Carnegie Medal for Excellence in Fiction, about which Francine Prose said in her NY Times review, “a nervy enterprise, an audacious bait-and-switch. Cloaked in a novel about a love affair is a ferocious indictment of the self-involved material girls our era has produced.”
Enright went to college at Trinity College, Dublin, and took an MFA in writing at University of East Anglia in England, but soon after ended up working in television production in Ireland, which she did successfully for several years. She then turned to writing, first short stories, and then novels, at which she clearly excels. Since the Man Booker prize raised her profile exponentially, she has won numerous awards and traveled widely in support of her novels.
Enright’s newest book, The Green Road, is about a very modern Irish family, splintered and scattered, but always focused on the mother, the unhappy and complicated Doraleen. The family lives in County Clare, the farthest eastern shore of Ireland, as Enright says, the last stop before America, a place of immense beauty and also loneliness and struggle for those who continue to live there. And there is a real green road there, the old path along the water.
For the first half of the book, Enright alternates voices and scenes, from County Clare to New York to Africa to Dublin as she introduces us to the children in the Madigan family. And then the scene shifts back to the home turf of the family, as the children return for their mother’s birthday, together for the first time in many years. And this is where the heart of the novel lives.
It’s a beautiful book, one that has stayed with me after I read it, and even after I had the opportunity to talk about the book, the characters and the writing process with author Enright. She is an incredibly accomplished writer, able to convey immense depth about characters, a places, or events, with an economy of language and a piercing eye. We had a lively and interesting conversation while she was in New York on her book tour. And I am really pleased that she was willing to read two sections of the book, as hearing the author’s voice in this particular instance is terrifically important as her tone and intonation helps us feel the book more deeply.
I also had the pleasure to welcome her to the United States as she is now the first official Irish Fiction Laureate. This recording is of a wonderful conversation with one of our best living novelists, about a novel I am happy to recommend to all readers. And here is a terrific piece she wrote about the writing of the book for The Guardian (which we did talk about in our conversation). While I could not find a website for Ms. Enright but here is a pretty nicely done fansite for her work. And for those of you who have become fans of Enright’s work, this interview in the Paris Review about The Forgotten Waltz will be of interest as well. Publisher WW Norton has a page for the author here.
Jeffrey Lewis has had a really interesting life and career path. He went to Yale, where he was the Class Poet, graduating in the mid-sixties, and went to law school at Harvard. His first career was in law enforcement – he was an Assistant District Attorney in Manhattan. Then he left New York to work on the now famed television show, Hill Street Blues, embarking on what became a terrifically successful career in television and film writing. And then he more or less left television to write serious literary fiction.
In the past few years, Lewis has published a total of six novels. The four that make up the “Meritocracy Quartet” were originally published between 2004 and 2008 – Meritocracy: A Love Story in 2004, The Conference of the Birds in 2005, Theme Song for an Old Show in 2007 and Adam the King in 2008.
Before writing fiction, Lewis won a number of awards including two Emmys, the Writers Guild Award, the Humanitas Prize, the People’s Choice Award, and the Image Award of the NAACP, as a writer and producer of Hill Street Blues. His work for television and film includes projects for HBO, Showtime, the BBC, TNT, and many of the major film studios. His last screenplay, before turning full-time to writing fiction, was Paint, set in the New York art world, and is the last unfinished project of the great director Robert Altman.
He lives in Los Angeles, California and Castine, Maine.
The four books in the “Meritocracy Quartet” take place in successive decades and are meant to document and explore what these periods meant to the post war baby boomers. Each novel in the series stands alone, but together, they are a powerful and really striking portrait of the inner and outer lives of the cultural elite of this generation.
Lewis is a wonderful writer. His work is clear, never over wrought and expressive of the emotional lives of his characters. The books all take place in environments Lewis lived in, periods he lived through. It would be all too easy to try to read these novels as romans a clef, but I think they are much more than that. As a true novelist, transforming the lived experience to find its meanings, both for himself and for his readers, Lewis becomes an alchemist of the soul, his words then, taking us to places far beyond. These books are really an impressive accomplishment, and well worth the effort to read all four together, at once, for a deeply rewarding experience.
“Lives are not seamlessly sewn together, but rather forged by coincidence, necessity, and expectation, a fact that Lewis brilliantly conveys. . . . Lewis’ memories portray a modern, American life.” (San Francisco Book Review)
I really enjoyed talking to Jeff about these books and his work as a writer.
I genuinely enjoyed this evocative coming-of-age novel. I thought it captured the current generation of almost-thirty somethings really beautifully. It’s well written and well structured and very sympathetic on a number of levels for a wide range of readers.
The book starts with the central character in this faceted story, Sam Turner, in the summer he is fifteen, the crucial and in some ways defining moment in his life. Just as he connects with Suzie Epstein, the gorgeous girl next door, his mother abandons his family without warning or explanation. While his older, hard working brother Michael, who is a freshman in college and their attorney father both appear to accept her absence as a matter of course, Sam cannot. He is confused, and more deeply hurt by his mother’s departure and struggles to understand how she could simply disappear and leave her family behind. And at the same time, Suzie’s family suddenly moves away as well. This sense of loss is something he will carry with him throughout the rest of the story.
From this opening, the rest of the book covers the years as Sam and his friends (and brother) grow into adulthood. As one might expect, life is complicated, shit happens, good and bad, and life goes on. Author Antalek navigates this territory brilliantly, telling the stories of the key characters in alternating voices.
Suzie has her own family issues, and remains separated from her old friends for many years. Then a chance meeting with Michael reunites her with Sam and her former best friend Bella, whose first love was Sam. The Grown Ups explores the complicated process of growing up in the modern world. And through it all, we come to understand and appreciate the way her characters handle what it means for them to take on the mantle of adulthood. For most of us, it seems this is how growing up really works, accidents mixed with intentions to create being, meaning, and love. This book is a rewarding read, and one I thoroughly enjoyed. And I felt the same way talking to author Antalek about her book. We had a very fun time talking together about the writing of this book, her characters and life in general.
Robin Antalek is also the author of The Summer We Fell Apart (HarperCollins 2010) which was chosen as a Target Breakout Book. Her non-fiction work has been published at The Weeklings, The Nervous Breakdown and was been featured in several collections, including The Beautiful Anthology, Writing off Script: Writers on the Influence of Cinema, and The Weeklings: Revolution #1 Selected Essays 2012-2013. Her short fiction has appeared in 52 Stories, Five Chapters, Sun Dog, The Southeast Review and Literary Mama among others. Robin has received three honorable mentions in Glimmer Train’s Family Matters and New Fiction Writer’s contests as well as an honorable mention for the Tobias Wolf Fiction Award.
Brad Morrow is really an excellent writer, mainly of literary fiction, and as listeners of Writerscast will likely know, I have interviewed him twice before, once for the fine novel, The Diviner’s Tale (2011) and again for Publishing Talks about his now 25 year old literary magazine, Conjunctions.
The Forgers is a complex and finely crafted mystery novel. It is pretty clearly Brad’s homage to the form, one which I assume he loves, and the writing style demonstrates just how much in command of his craft he is.
I myself am not generally a reader of mysteries and detective novels, though I appreciate a good one. So I am not as familiar with the intricacies of the form as are those who read deeply in this genre. One reviewer I read observed that The Forgers follows the form of one of Agatha Christie’s most famous novels. Well it might. As I read the book, the writing style reminded me of early twentieth century English writers. Because its main character is a both a literary forger and a dedicated bibliophile, and much of the book’s action takes place in Ireland, it has a decidedly British feel to it.
But it is an American story, and as such a grisly murder that opens the book is at its center. The setting for much of the novel is the farthest reach of Long Island, an isolated area that is perfect for this sort of crime.
The main character is one of those quirky characters that inhabit mysteries and suspense novels. He’s very compelling, but he keeps his distance, to say the least. Morrow knows the world of books and collectors, as he is one himself, but I don’t think anyone would mistake his main character for an authorial stand in. At least I hope not. The narrator takes us through a tangled web of a story, and while we get to know him, much is left to mystery.
Readers will enjoy the slow, building pace of the novel, and the payoff that comes at the end. It’s a fun book to read, and as I said earlier, beautifully written by a masterful writer.
Brad Morrow has written a number of fine novels, teaches at Bard College, founded and still edits the literary journal, Conjunctions, and has won many awards for his work. If you have not read his work before now, you should! And The Forgers would be a good book to start with. Author website here.
It’s always a great pleasure to speak with Brad about his work. He’s a great conversationalist and very easy to talk to, and I think our discussion about The Forgers will be much enjoyed by listeners.
This interview with the talented essayist Marion Winik is unusual, as it is about three different (short) books Marion has published with the relatively new digital publisher SheBooks (“Every Woman Has a Story”). Since Winik, for a long time composed audio essays for NPR’s “All Things Considered” (archived here), she is pretty smart about doing interviews, so I thought we would be able to cover these three books, as well as talking a bit about SheBooks and Marion’s career as writer. I think she did a great job on all counts. I’d recommend a visit to her website too, lots of links, current information, and general literary goings on.
The three short books from SheBooks we talk about in this interview, all of which reflect Marion’s wonderful wit and stylish writing:
August in Paris is a collection of travel stories told with great humor and affection, “from lost teenagers and missed connections to overpriced drinks and gambling mishaps.” I don’t know how she does it, but she keeps her bearings throughout.
The End of the World as We Know It collects nine essays about parenting and family, beginning with the story of her second wedding and subsequent move to rural Pennsylvania. She covers a broad range of subjects, from blended families, to having kids in her 40’s and eventually to dealing with the legal problems that sometimes arise with teenage boys. Very much along the lines of her NPR pieces.
Guesswork is a collection of essays about memory and identity. One of my favorites, ”The Things They Googled” looks at search engines and their effects on our lives. These eight essays will inspire you to reconsider your own history and sense of self from new angles: how treasured places and objects fit in, how your life as a reader shapes who you are.
You can purchase these and other books directly from SheBooks (they already have a really extensive and impressive list of publications) here or from Barnes & Noble, Amazon and probably other ebook retailers, all at reasonable prices. Buy direct and you support the publisher and its authors.
Marion Winik’s (very abbreviated) biography in her own words:
“I was born in Manhattan in 1958 and raised on the Jersey shore. I graduated from Brown in 1978 and got my MFA from Brooklyn College in 1983.
Throughout my childhood and into my twenties, I wrote poetry. Some of it was published in two small-press books. In the late eighties—by which time I was living in Austin, Texas with my first husband, Tony—I began writing personal essays.
These days I live with my daughter Jane and our dachshund, Beau, in the beautiful Evergreen neighborhood of Baltimore. What a fabulous, underrated town this is. I teach writing in the MFA program in Creative Writing & Publishing Arts at the University of Baltimore. I write a column at BaltimoreFishbowl.com, and have a new memoir from Globe Pequot Press. It’s called Highs in the Low Fifties: How I Stumbled Through The Joys of Single Living.”
And here is something about the digital publishing start up, Shebooks: a curated collection of short e-books written by women, for women. All of our stories are easy to download and read on any digital device—and so good you’ll finish them in an hour or two. We like to think of ourselves as an e-book boutique, the kind where you’ll always find a story to fit your busy life.
Whether short fiction, memoir, or journalism, all Shebooks are handpicked by discerning magazine and book editors and written by women you either know of or will want to know. And because we offer our e-books by subscription as well as individually, you need never be without a great story to read.
As anyone who listens to WritersCast knows, I’m always interested in new publishing models. SheBooks certainly represents one of those new models. I think we will revisit them in a little while to see how this venture turns out. I hope it works – we need more digital publishing that tries to break out of the existing structures and models to try out different approaches to engaging with readers.
Auto Biography: A Classic Car, an Outlaw Motorhead, and 57 Years of the American Dream – 978-0062282668 – It Books (HarperCollins) – Hardcover - $26.99 – ebook versions available at lower price, paperback to be published March 17, 2015.
What a wonderful read this book is! The first thing you need to know is that I love old cars. I love stories about the people who love them, and rebuild them. But I also know that most old car stories are of limited interest to most people who don’t love old cars. Still – and yet – Auto Biography is much more than an old car story. Earl Swift is a terrific writer – trained as a journalist, which shows in his writing. He is clear and to the point. He never buries the lede. He gets close to the characters he writes about and portrays them brilliantly. And it’s impossible to put this book down once you get into the story, which just keeps going and going to a startling and rewarding end.
So yes, the book is about a car – a 1957 Chevrolet (one of the most iconic cars of our time) that Swift was able to trace from its first owner to its last. But it’s really about all the people who ever owned the car, and most crucially, it’s about Tommy Arney, the owner of the car when Swift begins his story. And Arney is a dream character for any writer, larger than life, complex and compelling. He is impossible to resist and Swift goes all the way in bringing us up close and personal with this incredible all-American character.
It was an incredible joy to read this book. As it happened, I was simultaneously reading a history of the automobile industry and for me, this book was by far the better book. It tells the story of what cars mean to our lives, how the cars we drive can capture our hearts and become our souls. I really enjoyed talking to Earl about this book and the story of how he came to write it is well worth listening to.
If you are interested in the way Americans live today, this book is one you must read. And if you just like a good story and you liked the way Hunter S. Thompson told them, this book ought to be perfect for you. Author website here, worth a visit.
“The story he tells of the car’s owners and, in particular, anti-hero protagonist Tommy Arney, is so detailed and informed by such thorough reportage I had to use Google to make sure Swift wasn’t embellishing — and I mean that as a compliment . . . . It’s the best contemporary book I’ve read about automobiles since A.J. Baime’s Go Like Hell, and I enjoyed the hell out of that.”
Matt Hardigree, Jalopnik.com
Longtime journalist Earl Swift wrote for newspapers in St. Louis, Anchorage, and for 22 years in Norfolk, where his long-form stories for The Virginian-Pilot were nominated five times for a Pulitzer Prize. Since 2012, he’s been a fellow of the Virginia Foundation for the Humanities at the University of Virginia.
He’s also the author of four other books of narrative nonfiction–THE BIG ROADS, a lively 2011 history of the interstate highway system and its effects on the nation it binds; WHERE THEY LAY: Searching for America’s Lost Soldiers, for which he accompanied an army archaeological team into the jungles of Laos in search of a helicopter crew shot down thirty years before (2003); JOURNEY ON THE JAMES, the story of a great American river and the largely untold history that has unfolded around it (2001); and a 2007 collection of his stories, THE TANGIERMAN’S LAMENT.
This is a wonderful novel, set in a period and place I have long been drawn to, the northern plains of the late 19th century. In The High Divide, Enger tells the story of a family – father, mother and two young sons – who are living a typical hard life in Minnesota. One day Ulysses Pope, the father walks out and when he fails to return, his family must try to cope, and of course, try to understand why he left and where he has gone. Driven by a desperate need to know more, the two sons set out to find him, leaving their mother, Gretta, at home to worry about her family, and then herself to set out on her own journey, now to search for her missing family.
Their searches lead them to the rough frontier country of Montana, that still reverberates with the terrible era of conquest of American Indians and destruction of the buffalo, massive changes in land and culture. Gretta must grapple with the possibility of losing her husband to another woman, and the boys must decide where their loyalties lie, and what they must do to save their family. Ultimately, the father’s secret must be uncovered, his story told, and the family come to terms with their history, in order to be able to go on. In my discussion with Lin, we covered alot of interesting territory. I very much enjoyed our conversation and the opportunity to talk to him about this excellent book and his thinking about writing.
The High Divide is a confidently told and powerful story, set in a period when modern terms of psychological awareness and emotional understanding did not exist. All the characters are ultimately trying to come to terms with the damage done by war and violence. Enger is fully in command of his story and characters, and pulls the reader through to a well earned climax. I really enjoyed this book, and am happy to have discovered a writer whose work I will now be following with interest.
I grew up in Minnesota, have spent most of my life in the state, and now live in Moorhead, where I teach English at Minnesota State University. Over the years I have received several awards for my fiction: a James Michener Fellowship, a Minnesota State Arts Board Fellowship, a Jerome travel grant, and a Lake Region Arts Fellowship. I have an MFA from the Iowa Writers’ Workshop, where I was a Teaching-Writing Fellow. My first novel, Undiscovered Country, was published by Little, Brown and Company in 2008. My short stories have appeared in Glimmer Train, Ascent, Great River Review, American Fiction, and other journals. During the 1990s my brother, the novelist Leif Enger, and I had a great time collaborating (as L. L. Enger) on a series of mystery novels for Pocket Books.
“The High Divide is a deeply moving, gripping novel about one man’s quest for redemption and his family’s determination to learn the truth. Written with lean, crisp prose, Enger seamlessly blends historical events with the personal, and deftly pulls the reader into America’s Great Plains during the 19th Century. The narrators’ voices are captivating, and I was spellbound by the author’s ability to express the human condition and especially the complicated bonds between fathers and sons. Layered with meaning, this remarkable novel deserves to be read more than once. The High Divide proves Enger’s chops as a masterful storyteller.” —Ann Weisgarber, author of The Promise
“The High Divide, a novel about a family in peril, is haunting and tense but leavened by considerable warmth and humanity. Lin Enger writes with durable grace about a man’s quest for redemption and the human capacity for forgiveness.”
—Benjamin Percy, author of Red Moon
“Lin Enger sets out from the conventions of the traditional Western and brings the reader into new emotional territory, that of the soul of an exquisitely drawn, American family. Told with caring patience and precise language, The High Divide is a novel to get lost in.”
—James Scott, author of The Kept
Castle McLaughlin: A Lakota War Book from the Little Bighorn: The Pictographic “Autobiography of Half Moon”
A Lakota War Book from the Little Bighorn: The Pictographic “Autobiography of Half Moon” (Houghton Library Publications)- 978-0981885865 – Paperback – Peabody Museum Press – $50 (no ebook version of this title!)
I was so excited by this book, I had to read Castle McLaughlin’s A Lakota War Book from the Little Bighorn several times over, studying the brilliant and beautiful reproductions of a nineteenth-century ledger book of pictographic drawings by Lakota Sioux and Cheyenne warriors that was found in 1876 in a funerary tipi on the Little Bighorn battlefield after Custer’s defeat. There is so much richness in McLaughlin’s story of the almost miraculous discovery of this document in Harvard’s Houghton Library and her subsequent years-long study of the book, together with Butch Thunder Hawk, historian of the Lakota Sioux, it was, for me, completely engrossing.
Nineteenth century journalist Phocion Howard acquired the book from one of the soldiers who took it from the battlefield, and later added his own illustrated narrative to the original pages, and had it bound in new leather with his own invented interpretation of the illustrations made by Cheyenne and Lakota artists.
Howard’s fabricated story had the seventy-seven Native drawings made by a “chief” named Half Moon, but McLaughlin persuasively argues that these beautifully made drawings, mostly of war and courting exploits, were drawn primarily by six different warrior-artists, some of whom she is able to identify with some certainty as historical figures who fought the invading settlers during Red Cloud’s War in 1866-1868.
These wonderfully evocative and powerful first-person illustrated scenes reflect a native view of the historic events of the plains tribes’ war for survival in this terrible period of American history. For the Lakota and other Plains tribes, art played an important role in recording and preserving their narratives of events of pre-reservation, pre-conquest tribal life, so books like this one provide a uniquely meaningful record of their lives.
McLaughlin tells the long story of the Howard book, provides detail and analysis of its cultural and historic significance, and places it within the context of Lakota and Cheyenne culture of the Plains during their fight against the invading Europeans. There is so much exciting work here for anyone who wants to know more about the events in the American west, where cultures clashed for nearly two centuries. During this time, Lakota, Cheyenne and other Plains tribes created a war based culture whose actual nature has not been fully understood. Most of our view is colored by images of that era framed by dime novels of the time and romanticized films of the 20th century. The ledger books give us an opportunity to see and experience this fraught period through actual Lakota and Cheyenne eyes, which is complicated and challenging. They also illustrate how warriors of that time appropriated the physical objects of their opponents as a way to capture their power as well.
The illustrations themselves are incredibly beautiful, and the stories they tell us, as interpreted by McLaughlin and Thunder Hawk, are completely engrossing. Getting a chance to talk to Ms. McLuaghlin about this book and her experiences as a social anthropologist was a great honor for me.
There is a great review of the book by Thomas Powers in the NY Review of Books, which is accompanied by excerpts of the art here.
Original exhibit of the book materials described here.
Castle McLaughlin is actively involved in the Nakota Horse Conservancy, which preserves some of the descendants of Lakota and Cheyenne horses. More about that here.
This is a very fine mystery set in an unusual locale – rural Pennsylvania (fracking country). I don’t usually read mysteries, but one of the pleasures of doing interviews with writers has been that I have been sent books by publishers that I would normally never have even looked at on my own. It’s fun to pick up a book, to start reading a few pages and then to be thoroughly hooked. That happened for me with Tom Bouman’s fine first novel. I really liked the portrayal of his main character, the local policeman, Henry Farrell. He’s terrifically drawn and is a compelling, complicated, extremely human character. And I liked the way Bouman worked his way slowly into the depths of the story. And I really loved the way he wrote about the people who live in this isolated rural county in Pennsylvania.
Bouman’s interest in the outlaws and eccentrics who inhabit this world, his appreciation and even love for those who have kept to themselves, and to older forms of relationships among family and neighbors is palpable and powerful.
The book revolves around a body found in the woods and the search, naturally enough, for the killer. This novel is well worth spending some time as the story unravels. Great characters and fine writing make for a terrific read.
Author website here. Bowman used to work in publishing – he was an editor – and now lives in northeastern Pennsylvania with his family. As of this writing, he is attending law school, so it may be a little while yet before he publishes his next book. And here is a terrific piece that Bouman wrote for Modern Farmer about rural crime fiction (that is a genre I did not know even existed!) I am hoping we’ll see a new book from Tom Bouman before too much time passes.
What an incredible book. Tough, loving, uncompromising. So much power in this book, admittedly at times, very painful to read, and stunningly honest to the point of extremism. But Jowita is such a fine writer, it is impossible not to admire this book and despite all the terrible things she tells us about herself, that she is alive, and able to speak her truth is incredible.
You know that any book with a title like this is going to be amazing, but there is no way to get through this book without being thoroughly bowled over, and depending on one’s tolerance for witnessing someone else’s painful mistakes, perhaps more than in any other book you will ever read. And yes, Jowita is completely and terrifyingly honest about herself and her misadventures throughout.
It’s valuable to understand that when Jowita first wrote this story, she wrote it pretending it was a novel. She had to get through that ironically deep denial as part of her ability to understand herself, one assumes. And that is part of the power of this book, that the author is able to uncover layers of denial, fear and guilt to get to a place where she can be honest with herself, and by telling that story to the world, reach a kind of absolution, a place in herself where she can be able to reconstruct herself, not forgiving, but finding the parts of her persona that are who she is not drinking. This is very powerful reading and a book I recommend no matter what you feel about yourself or others who are drinkers, addicted, lost, or found.
Short summary: Three years after she gave up drinking, Jowita Bydlowska found herself drinking again – at the party celebrating the birth of her son. Thus begins the harrowing tale of her descent, once again, into full blown alcohol and substance abuse. You have to read this one for yourself. Go buy this book, prepare yourself for a powerful experience, and read it now. Another good interview with the author on NPR here. And Jowita’s website, worth a visit – “I was born in Warsaw, Poland. I moved to Canada as a teenager. I live in Toronto with my little family in a little house. I write, write, write (compulsively, happily, unhappily, obsessively)” here.