Month: September 2009

Thirty Miles to Rosebud

RosebudIt’s tempting to say that time and space are the villains of Barbara Henning‘s Thirty Miles to Rosebud. After all, several decades and an entire continent separate the protagonist, Kate, from the best friend she lost track of during her teenage years, and the quest to find the friend seems, at times, hopeless. Despite the years and miles that separate the friends, however, Kate persists in her journey, intent on returning a shoebox full of memories to her erstwhile friend, Peggy. Along the way, she has ample opportunity to reflect on her life, on the inevitable onset of middle age and all that it encompasses, and on myriad twists and turns that brought her into her life. In other words, she gets a chance to reflect upon time, space, circumstance, and everything else that made her into who she is and, as she does so, comes to a stronger understanding of herself. Time and space, it turns out, are not quite villains and definitely not heroes, but necessary evils, bittersweet agents in the ongoing motion of our lives.

Thirty Miles to Rosebud moves along at a meditative pace, and appropriately so. As a storyteller, Henning is in no hurry to move her reader from point A to point B. Rather, she allows her universe to unfold organically, and Kate’s search for Peggy gives her plenty of time to reflect on a number issues, not the least of which is her ambivalence toward the hedonistic ethos that defined her youth. A child of the 1960’s, Kate recalls being both attracted to yet cautious of the freedoms often associated with the era, particularly with respect to love, and as she moves through her life in the hear and now, her quest to find Peggy develops, in large part, into an effort to come to terms with her mixed feelings about the past.

In a sense, Thirty Miles to Rosebud, is a complex coming of age novel, or a novel that complicates our understanding of what it means to come of age. Or, to put it another way, it’s novel that insists on every page that we’re always coming of age, and that the past is always prologue. We are both creatures of time and creatures of our time, Henning reminds us throughout the novel–but what we do with the time we have is what ultimately defines us.

Bad Monkey

BadMonkey-1Curtis Smith is an author who continues to impress. Last year, his novel Sound and Noise offered a touching take on love, loss, and friendship. Before that, his short story collection The Species Crown prompted me to start this blog. This year, Smith is back with another collection of short stories, this one titled Bad Monkey, and with it, he continues his track record of creating wonderfully moving characters who do their best to deal in good faith with a flawed and sometimes uncaring world.

Take, for instance, “The Girl in the Halo,” which centers on the disappearance of a small-town high school student named Sally and its effect on a disaffected young man from the wrong side of town. The story occurs against the backdrop of farmland that is quickly giving way to housing developments and thus is about two kinds of loss. On one hand, there’s the missing Sally, and on the other hand, there’s the changing landscape of the small town–the change in the very essence of its culture. But just as Smith never solves the mystery of the missing girl for us (and prefers only to tantalize and insinuate), he also never pins the blame for the change in the small town on any single factor. Yet even as he offers a textured subtle examination of the place of loss in all of our lives, he does so with an undying sense of hope (misguided though it sometimes is!). There’s the boyscout troop that prays (pointlessly, from the narrator’s perspective) for the safe return of the missing Sally, and even as the losses mount, there’s the birth of a foal to remind Smith’s readers that all is never lost, that life persists, that hope springs, in the words of Alexander Pope, eternal.

The tension between hope and its opposite echoes throughout Bad Monkey. Indeed, this is Smith’s gift: to admit that the world is cruel yet to insist that we all make the best of it. A gifted and (apparently, given his output) hardworking writer, Smith demonstrates with Bad Monkey that he’s still at the top of his game, a master of crafting heartfelt, insightful fiction.

And the cover is cool, too!

How to Write About the Poor – Review/Essay by Sean Bernard

Editor’s note: Special thanks to Sean Bernard of Claremont, California, for sharing the essay below with Small Press Reviews. In it, Bernard reviews Unintended Consquences by Larry Fondation (Raw Dog Screaming Press, July 2009, cloth, $24.95), Poor People by William T. Vollmann (Ecco, 2007, paper, $16.95), and Welcome to Oakland by Eric Miles Williamson (Raw Dog Screaming Press, June 2009, cloth, $29.95). Any readers interested in submitting long-form essays on small-press books and their relation to larger social and literary issues can feel free to query me at marc (at) marcschuster.com.

Isn’t it true that writers once wrote — and readers once read — about our poor?

Absolutely — after all, the fiction from our high school literature classes was (and still is) filled with standard American classics, reassuring and familiar works approved by school boards across the country, works featuring very much the struggling poor of our country. Pearl Buck, Upton Sinclair, Jack London. Harper Lee, Mark Twain, John Steinbeck. Books about characters who often worried about having roofs over their heads, about eating their next meal. Characters with little — if any — security. Poor.

And many more great American writers of the early twentieth century wrote very consciously about the poor. John Dos Passos wrote the USA Trilogy (a work Norman Mailer called the greatest in American fiction). The novels of Faulkner, our greatest writer, are filled with poor folks. The characters of Bellow, Elkin, Conroy. The early works of McCarthy.

Why is it important that these authors wrote poor people?

The obvious (and somewhat boring) answer is that it’s a good writer’s duty. On their own, every day, readers experience the ordinary. They don’t experience sweatshops, migrant working, racial violence — not unless our best writers bring it to them, as our best writers, our Faulkners and Steinbecks, once did. Literature shows the entirety of a society. Good writers lift our most unkempt corners so that our literature is complete — so that we can see ourselves, no matter how bad we look. Tolstoy and the peasants. Zola and the mines. Solzhenitsyn and the gulag.

The poor are part of our national landscape. They should be part of our literature.

Who are our best writers? Our contemporary Faulkners and Steinbecks?

Authors of comparable girth — longevity, critical success — include John Updike, Philip Roth, Joyce Carol Oates, Don DeLillo. McCarthy, again. Pynchon.

Do they write about our poor people?

Pynchon? Updike? Roth? DeLillo? No. Oates, at times. McCarthy, no more.

So is their turning from the poor the reason we* no longer read about our poor?

Not entirely — it’s not only them. What other celebrated authors of the last twenty or thirty years write about our poor? Toni Morrison**? Richard Ford? Peter Matthiessen? Richard Powers? Marilynne Robinson? Denis Johnson? Ben Marcus? David Foster Wallace? Diane Johnson? Thom Jones? Elizabeth McCracken? Michael Chabon? George Saunders? Claire Messud? Dave Eggers? Ethan Canin? Jeffrey Eugenides? Jonathan Franzen? The authors published frequently in The New Yorker — do any write consciously about poverty?

*“We” are the people working on books, the poets, the short story writers, very likely with MFA degrees, the people who read Book Forum or Quarterly Conversation, who blog and glance at Book Slut every now and then, who know the signifier of the sign “Book Slut,” who know sign, who know signifier. Who know of and have opinions about Ben Marcus. Who desire publication in McSweeney’s. Us. Me and you.

** The poor, yes. American poor, yes. Our poor? From our time? Not so much.

So why are stories concerned with poverty rarely published by The New Yorker?

[Silence.]

Back up a sec. Though neither was as successful as Jesus’s Son or Tree of Smoke, Denis Johnson did write two novels about the poor. Doesn’t that disprove your theory?

Yes.

So there are books about the poor by well-known authors.

Yes, but very few. Written primarily by Southerners. And William Vollmann.

William Vollmann? The prostitute guy who tries crack and fights with mujahadeen?

That’s the guy. William Vollmann is the closest thing we have to a modern John Steinbeck (or maybe Steinbeck was the closest thing we had until Vollmann himself, in terms of success, caliber, and conscience). Vollmann is a writer actively concerned in his literature with being moral in the current world. He does not preach right and wrong.

9780060878849Unfortunately, his better works are more journalism than fiction. For example, Poor People (2007) is a series of anthropologies as he interviews poor people, describes their circumstances, and basically asks each of them, Why are some people poor? Then he sorts the depressing information and presents it matter-of-factly, generally staying out the way:

“People’s clothes would stick to their bodies; the parasol-carrying women would dab at their foreheads. And then the haze of heat, plant-breath and motor-breath would press down upon the white skyscrapers, tree-lined streets, whitish-grubbyish roof-tiles, gridlocked traffic and construction skeletons of Nan Ning, which boasted more towers every month.” (82)

When he does enter his narratives, Vollmann uses himself as a case study to question the best human response to situations from seeing a black guy walking toward him down the street at night in the city (I’m afraid — am I racist or am I smart?) to giving to the poor (Will this help? Does it matter if it doesn’t? Am I doing this for me?) to questioning his own work:

“This book is not ‘practical.’ It cannot tell anyone what to do, much less how to do it. For all I know, the normality of our epoch may render resource-sharing substantially impossible. But what is greater or braver than to beat down misfortune, or at least to try?” (247)

But that’s non-fiction. How’s his fiction about poor people?

Not as good, unfortunately.

Why do Vollmann and Southerners write about poverty while few others do?

They’re around poor people. Vollmann chooses to be; Southerners live in a place that’s still greatly impoverished. Once upon a time we — writers and readers — were nearer poverty, too. Our parents were once poor, or our grandparents, great-grandparents. They were immigrants or a part of our shared American poor history, the Great Depression.
Now? Despite the current recession, subscription rates to Netflix have risen steadily each month in 2009 — while cable television subscriptions have decreased.

Today, “poor” this year means sacrificing cable for Netflix.

That’s a different kind of poor.

The old poor, the worry about roof and hunger — that poor is now Other. To be old poor in an America — where new poor means no cable TV — implies failure on the fault of the poor person. To be poor during the Great Depression meant little — plenty of ordinary people were poor. Now, though, it means you’re addicted to drugs or were born of a mother addicted to drugs or suffer acute personality disorders or were poisoned in an overseas war or deformed or just a victim of rotten luck over and over again. The level of failure is so grand we can’t possibly relate. The poor now aren’t like our grandparents.

They’re people who have failed our pleasant society — our pleasant society hasn’t failed them.

It’s their fault.*

*Even if unlucky, we can prevail despite bad luck. Will Smith teaches us this in The Pursuit of Happyness (sic).

If there are fewer “old” poor now, less books about them is to be expected, right?

Yes. Because there are fewer poor people in our country doesn’t mean we ought to ignore those we have. And while we could use more books about any fading group — Luddites, militias, weavers, and so on — the poor are a unique in that they reveal the cracks in our society. Luddites, less so.

But writing about the old poor is hard. Do any non-Southern Vollmanns try?

Yes. Two who’ve done it for some time each have a new work out: Eric Williamson with Welcome to Oakland and Larry Fondation with Unintended Consequences.

Who?

oaklandWilliamson was a finalist for the PEN/Hemingway with his first novel, East Bay Grease, writes an American literature column in the celebrated French literary review Transfuge, and this new book may become an HBO series (which doesn’t automatically mean greatness, obviously — still, HBO). His best novel Two-Up is about gunite workers in the Bay Area. For his part, Fondation has published critically-acclaimed works including Angry Nights, Common Criminals, and Fish, Soap, and Bonds. All focus on poverty and violence in Los Angeles, and though Angry Nights is his greatest work, the others are also excellent; for Fish, Soap, and Bonds, he garnered a Christopher Isherwood grant.

How does Williamson write about the poor?

Every way he can.

Welcome to Oakland is narrated by the once and future poor T-Bird Murphy. Before taking us on a fragmented tour of his twenty-ish years in Oakland, the story begins in a distant present with Murphy acidly mocking his youthful American dreams: “I wanted an address, a phone number, a normal life that didn’t surprise me at all… I wanted to be happy” (11).

This isn’t the familiarly defeated, hopeless poor guy we think we know.

This guy hates us.

The novel resembles by turns Notes From Underground, Ellison’s Invisible Man, even Absalom, Absalom!, and Williamson throws in a handful of post-modern techniques, too, to see what sticks. T-Bird lists at one point Thirty-two aspects of Fuckers, Qualities of and How to Identify (eg, “have British names,” 78) and later adds a critical manifesto: “What we need is some imperfect fiction, some fiction that does not try to bring order to the chaos of life, but which instead tries to not only represent the chaos with chaos” (104).

While the novel is in places an incessant rant against stupid people (who usually are rich), Murphy/Williamson calms down enough to just tell story. The novel’s most brilliant section shows Murphy residing in a dump that, thanks to its philosophizing Aussie caretaker (“Permanence is the realm of only the very powerful and the very stupid” (169)) is more art-installation than trash. The squalor becomes beautiful, and we see that in poverty each moment means, each life means:

“I could see the dumps from where I stood, dark hills rising against the glow of the bay, and I could see the glow of Jones at work on his crazy junk sculpture, and seeing that glow, knowing that Jones was at work shoving his metal in the air and ramming it up the asses of the gods, I felt good. I felt as if everything made sense and that in this world there are some things they can’t take away from us and those things are the things we make, the things we create just for the hell of it without any hope of ever making a buck or fucking someone out of their check.” (178)

Reading Welcome to Oakland is strange. We’re the insulted, throughout — sort of — the educated, the non-poor, and so the novel is in a way attending your own roast. Still, we know that Murphy is in some ways one of us, as the work captures the conflict of hating those who have what you don’t… while wishing you were them. Welcome to Oakland is crass and unfinished, which is either reckless or daring, maybe both, at the approach perfectly weds form to theme. We can give Williamson credit for making an angry, frustrating, smart, and sometimes beautiful mess of a book about a mess of people in a mess of a town.

How does he write about poor people?

By having been one, remembering it bitterly/lovingly, and letting the pain fly.

How does Fondation write about the poor?

unintendedUnintended Consequences, which (appropriately) resembles the fragmented realism of Vollmann’s early stories, though whittled to an even finer point, is a stylistic counterpoint to Welcome to Oakland: rather than Williamson’s long rushing sentences and blend of literary techniques and references, Fondation gives us a larger look at poverty — in terms of wealth, yes, but more so the impoverished urban landscape — with sixty-five slim stories in 140 pages, stories like needles without their vial. The accumulation of violence and decay touches not only on the poor in wealth but poor in spirit: we get homeless encampments routed by urban redevelopment and lonely orphans and barflies, yes, but also cheating middle-class husbands, depressed suburbanites caught in the big city, and so on. As Fondation’s characters don’t know how else to react to physical or intellectual threats, they grab knives, guns, broken bottles, and get to work, and the violence is ultimately more sad than disturbing.

While the relentless approach works, at times it almost comes across as silly, as in “Strolling,” where a woman with nice legs (Miss Legs) is hit on by a jerk in a Mustang:

“You got a nice ass, baby. I’ll stick you good.”
“Fuck off, loser,” the woman said. “I’d rather fuck him.” She pointed at J.L. Hill. (She meant no harm.)
The man in the Mustang did not miss a beat. He pulled out a Colt Python and pointed it at Hill. He squeezed off three shots in a short burst, then another short burst, all right on target. Hill slumped to the ground.
The downtown lunch crowed scattered screaming. The driver persisted.
“He’s dead. Will you fuck me now?” (62)

At which point the woman gets in the car and drives off with the shooter (really). Is the story grim? Funny? Ironic? Does it show us how sad the lives of the poor (in spirit? in intellect?) in Los Angeles truly are? Not really. It and the others like it are out of place in an otherwise taut collection; thankfully, Fondation usually stays focused, and his approach to writing about the poor is novel and effective. By avoiding an intertwined narrative (as in a work like Crash) and simply juxtaposing the experiences of the homeless/financially poor with the lives of the more wealthy but no less poor, by blending spare first-person monologues with brief distant third-person sketches, by including humor, sadness, hope, and most of all anger, Fondation has made Unintended Consequences an oil- and blood-soaked fabric of urban life:

I live alone in a single room; last year I did not.
At the dark bar, spilled beer puddles on the polyurethane.
We don’t know whether to stay or leave. For a whole host of reasons.
We stay until the pungent end. (“City Blocks,” 140)

So which is the better work of fiction about the poor?

While both Unintended Consequences and Welcome to Oakland — two hugely disparate works — are admirable and unique to contemporary American fiction… probably neither of them. Both pieces are so repeatedly opinionated, angry, and passionate, so outraged… that they’re too loud for us.* The ranting bum on the street? The ranting drunk in the bar? Interesting the first time. The second, third, fourth times? Not so much. And so these books, though impressive artistic works, aren’t ultimately as moving as they could be.

So who does it best? Interestingly it’s almost Vollmann, with Poor People. Though journalism, Poor People would be horrifying and fantastic re-imagined as a work of fiction: a tale told by a cold anthropologist, a bored and wealthy Humbertian narrator who curiously and conscientiously studies the poor like ants yet to be squashed by life, revealing them to us (himself as one of us), prodding them, asking questions. “Learning” from them so that we can learn from them, too. Of course Poor People is not nearly so cold and callous… but it flirts enough with condescension that such a marvelous fictional version is not hard to envision.

* We have sensitive eardrums.

If these three authors are already doing it, why should we write about poor people?

A long answer begins by admitting there are obvious platitudes here — the poor are “part” of us, etc, we should include everyone in our country in our fiction, etc, etc, otherwise we’re jerks. Here’s a better reason: look at the greatest works of contemporary-life-based fiction* from the last twenty or thirty years. What is our most lauded American novel, a work that defines our country? Would many people — would we — offer Underworld, for example?

Compare Underworld — in its total encapsulation of life — to The Savage Detectives.

Compare it to 2666.

Compare it to Juan Villoro’s El Testigo.

To Ulysses.

To Anna Karenina.

To our own great works. Moby-Dick, Huck Finn.

We can’t compare it because for all Underworld’s heft and artistry, DeLillo is no BolaÒo, no Melville, no Tolstoy. A novel like Underworld, while deeply commendable, is only a couple slices of a much greater American experience; the greatest works from the greatest authors encapsulate much more, encapsulate everything — or at least try to.

Reading DeLillo shows us that he simply doesn’t live in the larger world; like us, he’s too far from poor. Like us, it’s not so much on his mind.

And all our lauded authors are equally removed. And so too their works.

We should write about the poor to write the greatest fiction that can be.

* “Realism” seems too limiting a term.

Well, then, how do we write about poor people?

It’s hard. We don’t want to go out and be poor ourselves. That’s too hard. Spending lots of time with the poor would also be a big sacrifice. Besides, in many ways poverty isn’t compelling. For one, on a daily basis, it’s boring. Not much happens and what little does is repetitive (as the flaws in Unintended Consequences and Welcome to Oakland are their repetition). Beyond that, we don’t aspire to poverty — we don’t want to imagine it. Beyond that, the downfalls of the poor are clichéd. As we learn in Poor People, most poor people are poor for sad and uninteresting reasons: they got fired from jobs and never found work again. They’re alcoholics. They blame society as being too complex… so trying to fix the situation is pointless. They are defeated. And there’s not much story in defeat.

Still, there are ways.

Vollmann gives one avenue: by thinking about them. Caring. Having interest. Path #1.

Fondation gives us another: slice life down to the barest essence and then, rather than forcing an artificial entwined narrative that pulls all lives together, simply place the lives of the poor beside the lives of the non-poor. #2.

And Williamson in Welcome to Oakland, presents a narrator who is half-us, half-them: a hybrid conflicted soul who loathes everyone. The screaming bastard child. #3.

So it’s very possible — and important — to write about the poor, to make poverty artful, meaningful, true. These writers have to large extent already succeeded. Let’s learn from their works and their methods, especially that most basic one they’ve all used: simply by trying.

–Esssay by Sean Bernard

you say. say.

you_say-say-cover-darkThe introduction to the latest anthology of poetry from Uphook Press, you say. say., exhorts the reader to read “with both eye and ear.” This, it turns out, is very good advice, for the poems gathered in this volume are as visually interesting as they are challenging to read aloud–challenging in a good way.

Take, for example, the second poem in the collection, Samantha Barrow’s “Would You Blank?” The first two lines of the poem read, “If I took off my_____________/Would you_____________?” The poem then goes on for several more lines in a similar vein before the narrator note, “Someone once told me that I was very adjective noun.” From a visual perspective, the poem catches the eye due to its Mad Libs-style appearance, and intellectually the reader gets it; as the title suggests, we’re supposed to fill in the blank. And taking this a step further, as with Mad Libs, the blanks in the poem allow for infinite readings and interpretations. At the same time, though, there’s the question of how to read the poem aloud. Does one simply pause silently at each blank? Does one say the word “blank”? Or does one improvise, filling in the blank with a different noun/verb combination for each reading? Given the myriad possible approaches to a live reading of this poem and the others in the volume, it’s easy to see (and hear) why Uphook Press specializes in “promoting a nationwide community of performing poets.”

Needless to say, the possibilities inherent in reading the poems in this collection aloud are not the only reason to read this volume. The poems throughout do a wonderful job of defamiliarizing the world around us–i.e., taking the day-to-day world we know so well and forcing us to look at it with new eyes. A first, tentative caress is likened to a game of Operation. A sandwich made of money comments on our culture of vertiginous if meaningless accumulation. A kitten curled up on a roadside–alive or dead–does the only thing it knows how to do in order to find something approaching happiness.

Overall, you say. say. offers a world of infinite possibilities–for the eye, for the ear, and, most significantly, the mind.

A Year of Cats and Dogs

catsanddogsA Year of Cats and Dogs by Margaret Hawkins is a quirky yet emotionally engaging novel that dares to answer the eternal question: What happens when nothing happens? Fed up with her largely meaningless job as a “Keepsake Conceptualizer for Sentiments and Social Expressions” for a company that manufactures tasteless chatchkes, the novel’s protagonist, Maryanne, joins the ranks of the unemployed in an effort to rediscover some modicum of passion in her life. Yet even as Maryanne tries to get away from it all, life has other plans. Soon Maryanne finds herself working as a kind of “dog whisperer” for a local animal shelter and, as is often the case in real life, her relationship with the animals she loves allows her to reconnect with her own humanity. A witty and enchanting book, A Year of Cats and Dogs offers a refreshing perspective on life, death, and everything in between. Taking a break from her busy schedule, Margaret Hawkins recently took some time to chat with us about her book.

Tell us a little bit about A Year of Cats and Dogs. What is the novel about, and what inspired you to write it?

Well, philosophically, the novel is about death and change and how change is a kind of death.  It’s also about cycles and opposites – life and death, cats and dogs, action and inaction, yin and yang – the old “ to everything there is a season” idea. Hence the cover.

But in concrete terms it’s also about love and relationships and animals and what they teach us.  I was living with a dog and a cat when I wrote it and I was fascinated to observe them and just blown away by how smart and dignified and mysterious and affectionate they were. I wanted to explore ideas around that.   Animals really do communicate – it’s interesting to me to consider how.

I guess my animals inspired me to write the book.  I had the first sentence in mind for some time and finally I wrote it down and kept going, to see what would happen.

What drew you to the character of Maryanne?

I wanted her to be sympathetic but also kind of a mess, a comic foil and blank slate for everything that was going on around her.  She’s ineffectual and frozen, emotionally, and it makes her a bit of an unreliable narrator.  Of course I agree with a lot of things she says but sometimes she’s a little off and needs to rethink things.  When she tells her sister not to call her feckless that’s when we know for sure she’s feckless. I wanted to work with a character that had a lot to learn.

Listening is a major theme in the novel, and a lot of the listening that Maryanne learns how to do occurs against the backdrop of her interest in Eastern culture — as exemplified by her reliance on the I Ching for guidance. Do you see a connection between listening and Eastern culture in general (and the I Ching specifically)? Conversely, do you see listening as a lost art in the Western world?

Yes, the book is about listening   – that’s a really good point though I didn’t think of it as such until you said so. But it is.  Maryanne goes into self-imposed isolation in which she’s waiting or listening for answers.  Of course that is the Eastern way, not to be aggressive.  It’s kind of funny though because while she’s trying to clear away all the noise and clutter in her life to hear subtle messages from animals and from beyond and from her dead mother and from the I Ching and other religious systems she is at the same time adding to the din by writing these corny pounding rhymes that crash on the ear.  My hope is that finally she learns to be quiet and listen to her own heart a little bit.

On one hand, A Year of Cats and Dogs is ostensibly about “doing nothing,” yet for someone who’s doing nothing, Maryanne ends up doing an awful lot with her life. Do you think it’s possible to do nothing, or does life always seek us out and, in effect, force us to do something?

There is no such thing as doing nothing as long as you have a mind.  Maryanne leads a rich inner life even if she doesn’t get a lot done in the world at first.  Life always seeks us out but I think it’s important sometimes to withdraw a little and pay attention to what feels authentic rather than just keeping busy.  Once she does that she knows what else to do.

Death is also a strong presence throughout your novel, and for the most part, Maryanne is fairly comfortable with the subject. For you, what is the relationship between life and death? How do they give each other meaning?

Of course death is an inevitable part of life though some people feel there is no such thing as death, just change. I’m interested that you think Maryanne is comfortable with death.  I guess she is because this is the work she chooses but I still wanted the reader to understand how painful all these losses are for her – her relationship, her job, her father, her dog Bob, even her house – I just didn’t want to describe that.  I wanted her grief to be so deep as to be inexpressible. It’s why she’s so frozen.  I wanted to pull a curtain over her grief and give her some privacy rather than show her ranting and raving.  Her losses make me sad.  There are parts of this book I don’t reread because they make me too sad.

I’m curious about your decision to include recipes in the book. There’s something very communal about the idea of different readers sitting down to enjoy not just your book but some of the dishes that you describe. As a writer, why did you include the recipes, and have you actually made all of them?

I love the idea of readers sitting down to share the book by making the recipes – I would love it if that happened though they should feel free to change them to suit themselves. Of course I’ve made them!  Most of these are things I make a lot, but I’ve made all of them at least twice.  The measurements are approximations though – I don’t usually measure.  And the recipes are supposed to be vague, to reflect Maryanne’s state of mind. I guess I always had a fantasy about being a food writer but I have no qualifications so this is my sneaky way of doing that and then I thought it would be interesting to include the thoughts of the cook, all the tangential and inappropriate things people think about while they’re cooking.

Your author bio mentions that you’ve worked as an art critic. How has your work in this field informed your literary aesthetic?

I think I look for the same things in art that I look for in writing – honesty, form, ideas, beauty, humor, a kind of tenderness or handmade quality, a willingness to take risks and break rules but then make up news ones and adhere to them.  Probably though the main thing I’ve taken from writing about art for years has been the discipline to write to word count on a deadline every week.

Finally, there’s some debate in A Year of Cats and Dogs as to whether life has a plot. What’s your opinion on the issue?

I guess I was trying to figure that out when I wrote this.  It’s really a question of whether there’s intelligent design.  Do we have a purpose? A destiny? Does it matter what we do?   In my darker moments I’m afraid not but mostly I believe yes life has a plot.   It certainly is full of surprises though and I like not knowing the ending.

The Meat Factory – Review by Tom Powers

coverSpecial thanks to my good friend and colleague, Tom Powers, for providing us with this week’s review!

Imagine yourself as author Stanley Warren, living in the mid 1970s and recently divorced, but well-educated in that you hold a Master’s degree in English.  Moreover, you have served five years in the New York City government, which makes you quite accustomed to white-collar professionalism.  After a while, however, you yearn for a career change since both the Buddha and the Devil beckon.

Consequently, what lifestyle alteration do you embrace in your mid-thirties?

You undergo Emergency Medical Technician (EMT) training, of course, and find a job working on an ambulance, better known as a rig, in the heart of Detroit, a.k.a. “Murder City!”

The Meat Factory, Warren’s memoir of his frenetic 2½ years serving as an EMT in the Detroit Fire Department, will dramatically place you into his skin as he and his various rig partners speed from one eventful scenario to another.  Sometimes, their medical adventures verge on the hilarious as they encounter patients who simply crave attention from strangers – as in the case of one wily old man faking a heart attack.  At other times, when it comes to the ever-present junkies who are looking for a way to be chauffeured to the hospital in order to score pain pills, the darker side of humanity manifests itself.

Then there are the unexpected moments in Warren’s searing memoir that plunge you into the most heart-wrenching of situations.  One such chapter presents Warren gently helping a panicking mother dying of cancer reinsert her oxygen tube into her throat with the poignant words, “I know what you’re going through.  My mama went through the same trip not too long ago.”  While in another chapter, Warren diligently administers CPR to a dead baby who suffered from spinal meningitis for the effect of letting the concerned parents know that someone cares enough to attempt to save their child.

At this point, if you are perhaps thinking The Meat Factory serves as Warren’s self-inflated celebration of his heroic commitment to the constantly suffering citizens of Detroit, you will be shocked – and intrigued – by the fact that Warren offers a true “warts-and-all” portrayal of this period in his life.  To this effect, Warren unflinching shows himself routinely smoking joints on the job, fighting with difficult co-workers, struggling with the lure of taking illicitly-earned money off an unconscious patient, and hobnobbing with prostitutes.

In this publishing age, when books are more or less being produced to serve as vehicles to be potentially optioned for television and film, readers and Hollywood producers alike are searching to discover that next “big” concept.  The Meat Factory, then, with its flawed, caring protagonist zooming with his colorful EMT partners across the violent streets of 1970s Detroit in the desperate hope of saving one more life, is exactly that type of “high-concept” properly which would translate well into tomorrow’s hot HBO or Showtime hit!

To obtain a copy of The Meat Factory, contact the author at swarren576@comcast.net.

Review by Tom Powers