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Thursday’s Pre-Publication Post: “The fictional parts of the book are true; if they didn’t happen to us, they happened to someone else.”

by Erika Dreifus on
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Last week, I spent my Tuesday lunch hour at my office desk, immersed in the latest Twitter Book Club session administered by the Jewish Book Council. The novel under discussion was The Invisible Bridge, by Julie Orringer, one of my favorite recent reads. There are many reasons why I became interested in Orringer’s novel even before I read it; one of them is the fact that the novel emerged in part from Orringer’s family history. That is to say, from grandparent history.

When I discover that a particular work of fiction is rooted at least in part in the Nazi era-influenced experiences of an author’s grandparents, I can’t help but be interested. I’ve long been familiar with creative work by the children of Holocaust survivors and refugees from the Reich. The grandchildren are another story. With a 1969 birthdate, I am among the elders of this cohort. For the most part, the grandchildren’s work is just beginning to reach readers. (This is a point that I expect to discuss during a panel on 21st-century Jewish-American fiction at the Association of Writers and Writing Programs conference in February.)

As usually happens with the JBC chats, the author participated and answered reader questions last week. (You can read the full transcript here.) And in one of Orringer’s statements, I found an excellent insight that will help me respond to questions, when they come, about my own forthcoming collection, Quiet Americans:

“My grandmother says, ‘The fictional parts of the book are true; if they didn’t happen to us, they happened to someone else.'”

How do I know this will help me? Well, a few days after the chat, a friend read my collection’s opening story online, then asked me via e-mail whether any of it was drawn from my own family’s experience. I pointed my friend to a brief essay I’ve written explaining the story’s background.

Mentally, I also heard the words of Julie Orringer’s grandmother, echoing.

Recent Reads: The J-Word, by Andrew Sanger

by Erika Dreifus on
Disabled

As a Jewish-American, I’m very interested in the experiences of Jews in other countries, past or present, factual or fictional. Andrew Sanger‘s debut novel, The J-Word, presents one such glimpse into 21st-century Jewish life–in England–by focusing on octogenarian Jack Silver and his family. (If Sanger’s name is familiar, that may be because you’ve seen him guest-blog right here on My Machberet.)

What I found here–apart from certain figures of speech, a pronounced recurrence of teatime, and a greater focus on “football” (soccer) than we tend to find in American literature–were many similarities with threads of Jewish experience in the United States. To be sure, Jack’s long-sustained quest to become truly “English” and fully assimilated is a situation quite familiar to readers of Jewish-American literature. The incorporation of prayer snippets and Yiddishims is another link (anyone needing refreshers or translations will find them in footnotes and a glossary). But the book also reflects newer aspects of Jewish contemporary experience that cannot fail to resonate in an American reader just as they might in an English one.

Take, for instance, these musings from Jack, shortly after he is attacked by a gang in what is clearly an anti-Semitic hate crime:

Maybe the answer is education. An intelligent, aware population. That, he realised, was an impossibility. Some of the best educated people hate Jews. So a liberal, tolerant society? He grimaced at the thought. In his mind he saw ranks of pale, thin-lipped English men and women saying ‘we’re not antisemitic,’ the readers and writers of the Guardian and the Independent, sympathising with suicide attackers, calling for boycotts and spreading hatred of Israel. He laughed bitterly. ‘Oh no, it’s only Israel and its supporters we hate,’ he said, ‘not Jews.’ The Guardian and the Independent and the BBC are leading us to the next Holocaust. Then they will be able to report on it with horrified condemnations. What about the Jews who take that side, too – Harold Pinter and the rest? Fools!

Now, I happen to be a reader who appreciates a good dose of politics in fiction, and I also happen to be someone who discerns with increasing frustration in some American media outlets much of the same content/opinion that Jack highlights here on the English side. In other words, I am sympathetic to Jack’s particular political views. I admire Sanger’s writing here very much. It takes bravery to write like this. It also takes skill. Whatever Sanger’s personal views might be, these few lines convey at least as much power and conviction as might a full-fledged op-ed. But undoubtedly, some readers may not share my enthusiasm on these points.

I haven’t done justice here to this novel, which merits a much more detailed examination, so I will send you to some other sources. Meantime, I’m quite glad that I’ve had the opportunity to read The J-Word, and (disclosure!) I’m grateful to the publisher for the review copy.

Further Resources:

Recent Reads: Grace Schulman’s First Loves and Other Adventures

by Erika Dreifus on
Disabled

Now that I’ve joined Goodreads, I’ve been chronicling most of my “recent reads” over there. Hence, today’s My Machberet post is actually a cross-posting of the write-up I gave earlier this month to Grace Schulman’s First Loves and Other Adventures, a recent release from the University of Michigan Press’s Poets on Poetry series.

Grace Schulman has to be one of the most generous writers out there. I had the privilege of meeting her for a profile I wrote not too long after I began working at The City University of New York, where she is a Distinguished Professor at Baruch College. I left our first meeting with an armful of books, and when we met again a few months back, she asked if she might send me her latest: First Loves and Other Adventures.

I probably can’t be completely unbiased, but having had the opportunity to get to know this author a bit, I find the opening and closing essays in this collection most striking. They are also, arguably, the most personal.

In the first, “Helen,” Schulman describes family history, the experience of growing up Jewish in New York while the Holocaust unfolded across the ocean, and the connections she sensed from an early age with her father’s sister, Helena (“my parents Anglicized it”), who died in the Warsaw ghetto uprising in 1943. The closing piece, “An Uncommon Friend,” recounts the relationship Schulman and her husband had with author Richard Yates. I was in the room at the 2008 conference in New York where Schulman presented this text on a panel honoring Yates’s life and work; I’m grateful to have had the opportunity to revisit it.

In the introduction to this volume, Schulman describes the essays within as being “of two kinds: first, about becoming a writer; second, about some of the books I love.” The book encompasses reflections on May Swenson, Marianne Moore, Octavio Paz, and others. And anything Schulman writes is worth reading. Still, the first and last essays are the ones I’ll remember the longest.

Translated Poetry by Avrom Sutzkever in Hayden’s Ferry Review

by Erika Dreifus on
Disabled

The current issue of Hayden’s Ferry Review, a literary journal from Arizona State University, features poetry by Avrom Sutzkever (1913-2010), introduced and translated by Miri Koral. And luckily for us, this material is available online.

As Koral writes:

“The Yiddish poet and writer Avrom Sutzkever is considered to be the greatest Yiddish poet of modern times, and the greatest post-War Jewish poet. He was born in the town of Smorgon, Lithuania in 1913, near the city of Vilnius (Vilna). Vilna, the venerable center of a great flowering of Jewish cultural and intellectual life, became his enduring spiritual and creative home. Already prior to WW II, he enjoyed a well-established reputation as a member of the literary group Yung Vilna (Young Vilna).

The body of work that he then produced under hellish circumstances in the Vilna Ghetto is both rigorous lyrical poetry as well as a magnificent artistic witnessing of the systematic destruction of Jewish Vilna. During this period, at risk of death, he was instrumental in rescuing many rare Jewish books and manuscripts that were otherwise destined for nefarious ends by the Nazis. In 1943 he escaped to the partisans and then to Moscow, subsequently serving as a witness at the Nuremberg trials.

In 1947, he emigrated to Israel, where he continued his efforts to safeguard what remained of Yiddish language and culture. He founded the literary group of Yiddish writers, Yung Yisroel (Young Israel), as well as Di Goldene Keyt (The Golden Chain), the leading Yiddish literary journal, which he edited from 1949 to 1995. Sutzkever was awarded the Israel Prize in 1985, the only Yiddish poet to have received this honor. His good friend Marc Chagall was also an illustrator of Sutzkever’s poetry.

In addition to undertaking to memorialize through his oeuvre both the glories and devastations of Jewish Vilna, his many published works address a wide array of themes, including life in Israel, metaphysical and artistic inquiries, and lyrical celebrations of the natural world.

Sutzkever’s poetry in general is a challenge to translate well because of its often extraordinary musicality (sounds and cadences) and multifaceted concepts dealing with spirituality, creativity, and the ephemerality of human experience. He also is known for enriching the language of his poems with words that he coined and with those no longer in use from Old Yiddish. In other words, much of this uniqueness inherent in the original cannot help but be lost in translation. In spite of these translating challenges, English translations of Sutzkever’s poetry can be found in numerous anthologies, collected works, and in The New Yorker.

The two Sutzkever poems translated here were written in the Vilna Ghetto and have the challenge less of complex language than of keeping some of the rhythm and rhyme of the original while adhering as much as possible to the poems’ exact wording and compact power in depicting acts of spiritual resistance in inhumane situations.”

To read the two poems, “A Little Flower” and “Scorched Pearls,” please click here.

Friday Find: Hitting It Out of the Park–An Interview with Kim Wright

by Erika Dreifus on
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(A version of this interview also appears in the April 2010 issue of The Practicing Writer.)

HITTING IT OUT OF THE PARK: An Interview with Kim Wright

By Erika Dreifus

About seven years ago, when I was completing a low-residency program in creative writing, Kim Wright was brought in to talk to the graduating students about freelancing. Her talk that day helped fuel and organize my own post-graduate freelancing efforts, for which I have remained very grateful.

So when I saw that this veteran freelancer had become a debut novelist, I was intrigued. I asked Kim if she’d be willing to be interviewed. Happily, she agreed!

Kim Wright lives in Charlotte, N.C. She has been a nonfiction writer for 25 years, and Love in Mid Air (Grand Central Publishing, 2010) is her first novel. She is an adjunct faculty member of the low-residency M.F.A. program in creative writing at Queens University of Charlotte, and her hobbies are travel, wine collecting, and ballroom dance.

Please welcome Kim Wright!

ERIKA DREIFUS (ED): Kim, although you are a “debut” novelist, you are a veteran freelancer. When did fiction-writing become a part of your writing practice, and how did you begin to pursue it?

KIM WRIGHT (KW): Yes, I worked 25 years as a freelance nonfiction writer, but I always played around a little with fiction on the side. “Played around” may be the wrong term since I desperately wanted to write a novel. It’s just that fiction is so tough to publish – relative to nonfiction, at least – that it always seemed like a bit of a pipedream.

I started Love in Mid Air about eight years ago and worked on it hard for two years. Then I put it down for two years and that break turned out to be really important in the life of the novel. Because when I picked it back up I was able to read it more objectively, almost as if someone else had written it. I slashed whole scenes, did a major revamp of the structure, cut out characters…all things that would have been hard to do earlier.

And through this whole process I continued to work on the craft elements of fiction by going to conferences, studying with people like [Queens MFA director] Fred Leebron, and creating my circle of “writing buddies” who are now my first readers and most trusted counsel. There are really three women scattered across the country who are my lifeblood in this process and I can’t imagine having gone through this without them. A month I spent at MacDowell Colony was also pivotal, both to building my confidence and connecting me to some fellow writers whom I respect. My single biggest piece of advice for aspiring writers – especially novelists who work on things for so long at a time – is to assemble a support group. Open the door and walk out. You have to know people and I don’t just mean people who can introduce you to their agents, although God knows that helps. I mean people who can help you survive the actual writing.

ED: Love in Mid-Air features a late thirtysomething protagonist, Elyse Bearden, who lives in Charlotte. As the novel opens, Elyse is on a flight and becomes acquainted with a fellow passenger (Gerry). The rest of the novel follows from this encounter. I’m curious about the sequence in which you wrote the book. Did you actually begin writing with the airplane and airport scenes? How challenging was it to integrate the several significant flashbacks (I’m thinking especially of scenes involving Elyse and her longtime best friend, Kelly) with the forward-moving narrative?

KW: In the beginning, the book covered a three- year time span. It started with Elyse separating from her husband and moving out with her child. She met the lover Gerry about mid-point in the book. I realized I needed more tension…plot and structure have always been the toughest elements of craft for me and, I suspect, other writers who come out of a literary background. So I tightened the time frame to nine months and had Elyse meet her lover before she leaves her husband.

This created two new problems. Some people might consider a woman who has an affair while married inherently unlikeable. Oh well, I can’t help that. But the other problem was just as you say, that the tight time frame and faster pace made inserting the flashbacks trickier. I worked some of the flashback info into real-time conversations between Elyse and Kelly and tried to insert the other flashbacks into points where people tend to ruminate in real life, i.e., when Elyse is taking her walks, in the shower, or driving a car. Isn’t that when we all start to think about the past?

ED: At some point in my reading, I began to discern connections between Love in Mid Air and Madame Bovary. Both books present us with a female protagonist, unhappy in her marriage, who is a mother to one child (a daughter). Both protagonists are married to health professionals (Charles Bovary is a quasi-medical doctor, and Elyse Bearden’s husband is a dentist). Both Dr. Bovary and Dr. Bearden are loving fathers and basically decent men, if perhaps unfortunate matches for their wives. And, for their respective eras, both books include some pretty steamy material. Then, late in your novel, Madame Bovary actually becomes part of a discussion among Elyse and her friends. With all of that said: Did you deliberately give Elyse Bearden the same initials as Emma Bovary? To what extent were you conscious of previous literature dealing with infidelity and/or divorce and how did those works inspire (or limit) you in the writing process?

KW: I don’t think anyone else has noticed the EB connection between Elyse Bearden and Emma Bovary so go to the head of the class!!! (Editor’s Note: My undergraduate and graduate teachers in French history and literature will be pleased to hear this!) Yes, I was very conscious of Madame Bovary while writing the book and a lot of the connections you’ve commented on were deliberate. When the women read Madame Bovary for their book club I have Elyse say that she thinks Emma would have gotten away with it if she’d only had a cell phone. I’ve always liked that line because it’s the sort of thought that triggered my desire to pay homage to Flaubert’s book in the first place. Would a modern-day Emma Bovary not only survive, but thrive?

ED: Where were you when you found out about the starred review Love in Mid Air received from Publishers Weekly? (A starred review that begins, I may add, with the words “Wright hits it out of the park in her debut….”) What was it like to receive that review? What happened after that in terms of plans to promote and publicize the novel?

KW: I sold the book in December of 2007 and Grand Central said they’d bring it out in March 2010. It seemed like I was going to have to wait forever. Then 2008 and 2009 were pretty bad years for me, not just because of the long countdown to publication but because of all sorts of things that happened in my personal life. I was in a major funk.

So on Monday, January 4, the first working day of the new year, I get up, get my coffee and stumble into my computer and there it is waiting in my in-box, a starred review from Publishers Weekly. I literally screamed. And to make it even better, I had said to a friend at a Christmas party, “All I really want is for somebody somewhere to tell me that I knocked it out of the park, but no one ever says that in publishing. Publishing is about always feeling that you’re getting closer but you’re never there. They just never pay you those kinds of full out, no holds barred compliments.” And then there it was in the review, a first line saying the very words “hits it out of the park.” It changed my life. Everyone started paying more attention. And I have the feeling 2010 is going to be a bloody great year for me.

ED: Is there anything else you’d like us to know, Kim?

KW: That I am the most accessible person in the world. I’d love to speak to book clubs, either virtually or in person, I’m always available for interviews online or in any other format, and I love to speak to groups. (Editor’s note: Anyone who would like to arrange an interview, signing, book club meeting, etc., should contact Kim’s publicist, Elly.Weisenberg[at]hbgusa[dot]com.) And also that I’m working on both a second and a third book. One is a sequel to Love in Mid Air, told from the point of view of Kelly and advancing the story ten years when the women are almost fifty. The other is about the world of ballroom dance. Kind of Love in Mid Air Meets Dancing With the Stars.

ED: Sounds great! Congratulations and thank you, Kim!

To learn more about Kim Wright and her novel, please visit the Love in Mid Air Web site and/or join the novel’s Facebook fan page.