Friday Find: Short Fiction from Five Points

My most recent birthday is now several months in the past, but I’ve only recently dug into one of my gifts–a wonderful anthology signed by the editor and two contributors, sent to me by a practicing writer friend. The volume is titled High 5ive: An Anthology of Fiction from Ten Years of Five Points, and it has a lot to offer anyone who enjoys reading and/or writing short fiction.

Five Points has an excellent reputation–it’s the sort of journal I can’t imagine any emerging writer wouldn’t want to be published in. But I confess that I’ve refrained from submitting to date because of the journal’s pesky proclamation that it doesn’t want to see simultaneous submissions. (And while statistics on Duotrope, indicating an average response time of 62 days, could certainly be worse, two months is still not inconsiderable.)

But that doesn’t mean I can’t enjoy the work that the magazine does publish. And while I wasn’t enthralled by every story in the book (to be perfectly honest, not every one held my attention), I admired a whole lot of them.

The 19 stories are divided among three categories: “Self,” “Family,” and “Others.” The ones I expect to remember longest include:

Nancy Reisman, “No Place More Beautiful”;
Leslie Epstein, “Malibu”;
Alice Elliott Dark, “Maniacs”;
Ann Hood, “The Language of Sorrow”;
Richard Bausch, “Riches”;
Frederick Busch, “Manhattans”; and
the extraordinary “Rowing to Darien,” by Pam Durban, a work of historical fiction based on the life of Fanny Kemble.

Several of these stories have been republished in their authors’ subsequent books. I enjoyed these stories and, I admit, I am trying to learn from them. I am trying to grasp how Hood crafted a perfect ending to her story. I am trying to understand how Busch evoked depression without once using the word (unless I missed it somewhere along the way). I am trying to learn from the distinctive dialogue and choice detail and titrated backstory here/there/everywhere.

Have any of you read this anthology? The stories I’ve mentioned? Any thoughts on/experiences with Five Points? Please comment!

On Publishing a Second Novel and Other Matters: An Interview with Joshua Henkin

On Publishing a Second Novel and Other Matters: An Interview with Joshua Henkin

by Erika Dreifus

Among the books to be released in October you’ll want to take note of Joshua Henkin’s second novel, Matrimony. (Book Sense already has, and the book is an October “pick.”)

I had the pleasure of reading an advance copy of Matrimony several months ago. It’s a difficult novel to summarize, in part because it travels so far in both time and place: Protagonists Julian Wainwright and Mia Mendelsohn meet during their freshman year in a New England college; their path to matrimony (and well beyond) takes us to New York, Montreal, Ann Arbor, Berkeley, and Iowa City. And in part it’s difficult to summarize because, to put it bluntly, “life happens” to Julian and Mia along the way. They face birth, death, illness, infidelity, and more; their relationship is tested again and again.

Author Joshua Henkin lives in Brooklyn, New York, and teaches in the creative writing programs at Sarah Lawrence College and Brooklyn College, and at the Unterberg Poetry Center of the 92nd Street Y. Recently he responded to our questions.

Erika Dreifus (ED): Matrimony is your second novel; Swimming Across the Hudson was published 10 years ago. Tell us how your approach to publishing and promoting Matrimony differs from your approach to those processes with your first novel. I imagine, for example, that the Internet is playing a far greater role in your publicity efforts this time around?

Joshua Henkin (JH): Publishing Matrimony was harder; promoting it has been easier. I sold Swimming Across the Hudson to Putnam based on the first 50 pages, which is almost unheard of now for a first-time novelist. The publishing world even in the last 10 years has gotten so much worse, so much more bottom-line. And as hard as it is to sell a first novel, selling a second novel can be harder unless your first novel was a huge commercial success, because with a second novel there are numbers in the computer and unless those numbers are great, publishers begin to worry. With a first novel, anything seems possible. And though Swimming Across the Hudson did very well critically, its sales were middling.

This time around, I wanted to finish the book before I sold it. But there were many rewrites along the way, literally thousands of pages thrown out, and it took my agent a while to find the perfect editor and perfect house. But I’m glad to say she did exactly that. My editor and publicist and everyone else at Pantheon have been absolutely amazing, and they’ve really gotten behind the novel. I’ll be going on a big book tour, and everyone’s really hopeful. As for the impact the Internet has had on book promotion, I can’t even begin to describe it. The things that are possible now that weren’t possible 10 years ago are flabbergasting. I wouldn’t be doing this interview, for one, and that’s just the beginning of it.

ED: You are fast earning a reputation as a voice of authority on MFA programs. Next month you’ll have an article on the subject in Poets & Writers; you’ve also published a series of terrific posts on M.J. Rose’s well-known blog (Buzz, Balls and Hype). You teach in two MFA programs and demonstrate a considerable faith in their worth. Yet several years after finishing college, Matrimony‘s Julian rejects his wife’s suggestion that he seek admission to the University of Michigan MFA program (they’re living in Ann Arbor, where Mia is pursuing graduate work in psychology, at the time). And if I’m reading the novel correctly, Julian doesn’t finish the MFA program he ultimately does apply to and begin (the Iowa Writers’ Workshop); he goes to Iowa after having separated from his wife, and seems to leave the program as soon as he and Mia reconcile. Formal graduate study really doesn’t seem essential to Julian’s success. Late in the book, we read this: “Not until after [Julian] came back to her did he tell Mia the truth: that he’d stopped working on his novel when he left her and hadn’t been able to return to it until he came back.” As someone who teaches in two MFA programs, what kind of counsel might you offer someone like Julian? How could an MFA program benefit (or have benefited) him?

JH: You’re right–I’m a big advocate of MFA programs. That said, they’re not for everyone. You have to be of the right mindset. Julian kind of backs into the Iowa Writers’ Workshop, in that he’s convinced by someone else to apply, and he really does it from a position of weakness. He’s in a rut, he’s been teaching composition for several years, and he needs to get out of Ann Arbor and away from Mia. So I don’t think he’s predisposed to like his experience at Iowa. Also, he’s trying to get back to his novel, and while it’s certainly possible to discuss novel chapters in a writing workshop, workshops are really made more for the short story. Unless you’re in a workshop geared exclusively toward the novel, it can be difficult to have a meaningful discussion of novel excerpts. Finally, Julian took writing workshops throughout college, so in a way he went to an MFA program as an undergraduate. I myself didn’t start to write fiction until after I finished college, so workshops were a fresh experience for me. But you do start to see more and more people who took six workshops in college and then they move on to an MFA program, and by the time they get there they’re jaded–they’re workshopped out.

ED: Julian achieves significant success with his short fiction (publishing in The Missouri Review and Harper’s) many years before he sells his novel. You, too, have enjoyed success in both these fictional forms. It seems to me (and the writing workshop scenes in Matrimony, as well as your comment just above, would appear to bear this out) that short stories are far more easily suited to the workshop setting. Yet novels are often what writers (and agents) want to be dealing with outside the workshop. Given your experience both studying and teaching fiction in workshop settings (and your evident continuing commitment to both the short story and the novel as forms for your own writing), I’m curious about any specific advice you have to offer those writers seeking to develop their novels in workshops, as well as tips that might help those of us leading workshops with a “mixed” population of short story writers and novelists.

JH: There certainly is a tension between MFA programs, which emphasize stories, and the publishing world, which has no interest in story collections. This wasn’t as true 10 years ago. What I’d say is this: I think there are things novelists can learn from story workshops that will help their craft as novelists. The two forms are quite different, but not so different as to have nothing to say to each other. In general, I believe novels are easiest to discuss in workshops that are dedicated to the novel. At Sarah Lawrence and Brooklyn College, the two programs where I teach, there’s one novel workshop a semester. I also think that, whatever kind of workshop you’re in, it’s best not to bring a novel in unless you’re very far into it–ideally not until you have a first draft completed. A lot of people get feedback too early. That’s one of the hard things about a novel. You’re swimming on your own for a really long time. But that process is necessary. People try to help you before you’re ready to be helped. You need to make your own mistakes in order to figure out what the book is really about.

As for mixed workshops, where some students are writing stories and some are writing novels, I’ve taught a lot of those, and I think it’s important with the novelists to treat the work differently because you’re seeing something partial. You need to be a lot more tentative. You tell the writer what seems most promising, what interests you most, what you think the work is going to be about, what potential problems you see, even as you recognize that you may be wrong because you simply don’t yet know where the novel is going, and sometimes the writer herself doesn’t know, either. The potential pitfall here is you can be so tentative that you end up being unhelpful. Novel excerpts can promote laziness in the reader. The students say, “Well, I’m sure you’ll take care of that in 100 pages.” And maybe the writer will. But, in the meantime, the reader hasn’t really said anything.

ED: Your next novel, a work-in-progress provisionally titled The World Without You, focuses on a family reunion commemorating the loss of a son who was a journalist in Iraq. And there are snippets of major public issues and events in Matrimony as well. I’m thinking of one example in particular: “It was late August when Julian and Mia moved to New York, just weeks before the Twin Towers fell. Welcome to New York City, Mia thought at the time [….] She and Julian were leaving for work when the planes blew up, and from in front of their apartment building they could see the smoke and hear sirens.” At this point, it seems that fiction writers have begun to approach the terrorist attacks of September 11, 2001, almost as an “historical” topic (even here, we hear about it in retrospect). What challenges are you encountering now, writing a novel that appears to be intimately connected with something that’s part of the daily news, something that’s still so “present,” and ongoing?

JH: That’s a great question. In Matrimony, the World Trade Center attacks are used merely as a backdrop, a kind of positioning in place and time and a contextualizing of the novel’s central relationship in the face of bigger world forces. The novel is in no way about 9/11, unlike a lot of novels that have come out recently that focus on 9/11 much more centrally. Matrimony certainly has political and cultural references (the anti-apartheid shanties when the protagonists are at college in the eighties, O.J. Simpson’s slow car chase on the California freeway a number of years later, and other instances), but in no deep way is it a political novel.

The next book is different. It’s not a political novel, either–at least not in the traditional sense–but it’s certainly a novel that grapples with world events, and there are dangers to that. What if world events surprise you as you’re writing? Imagine a novel being written in August 2001 set in lower Manhattan that is about characters in the here and now. Well, then the World Trade Center gets hit, and everything changes, and the book has to change along with it. I think that’s why some writers set novels in imaginary locations, so as to prevent world events from interfering. In my own small way I was doing that with Matrimony at the beginning of the book. By setting the first section in the fictional town of Northington and at the fictional college of Graymont, I gave myself more free rein.

In terms of The World Without You, I’ve already had reality sideswipe me. When I started the book, I had this idea that the mother would in a very public and incendiary way be opposed to the war in Iraq. Her son is a journalist who gets killed there, and when President Bush invites her to the White House in an act of consolation but also of PR, she publicly refuses to meet him. Well, that meant something else at the time when I wrote it than it means now. It’s not meaningless now, certainly, but with so many people protesting the war, it’s a lot less significant, a lot less stark. It characterizes the mother in an entirely different way, and so I’m going to have to go back and rethink things. I believe every novelist lives in fear of the real world making his work obsolete. It’s an incentive to get the book done–you need to beat world events before they beat you.

ED: Where can writers learn more about you, and your work?

JH: The best place to go is my Web site, www.joshuahenkin.com. It has lots of information about Matrimony. It also has my blog, a schedule of events and readings, a couple of videos about the book, a contest (the winners get free books) for individual readers as well for reading groups, and much more.

ED: Thanks so much for taking the time to “talk” with our readers, Josh.

(c) 2007 Erika Dreifus

(A very slightly altered version of this interview originally appeared in the October 2007 issue of The Practicing Writer.)

From My Bookshelf: Faint Praise: The Plight of Book Reviewing in America

I may be a tad late to this party (over at Book/Daddy, Jerome Weeks published an essay about this book and the issues it raises nearly two months ago), but on the other hand, it’s never too late to tell others about a book you’ve read and think others should read, too. And if you’re a book reviewer (aspiring or established), or simply want to understand book reviewing better, there’s no doubt: You must read Gail Pool’s Faint Praise: The Plight of Book Reviewing in America. Period. It’s the closest thing we have to a textbook on the subject (and eminently more readable than most textbooks prove to be).

From My Bookshelf: On Chesil Beach

This weekend I read Ian McEwan’s On Chesil Beach. And its final paragraph has really stayed with me.

Because as I was reading the somber anniversary of 9/11, which, for me, always prompts a lot of thinking, was approaching? Because the Jewish Holy Days (which tend to also inspire a fair amount of reflection, on life and on death) begin this week? I don’t know.

But since I’ve already written about how challenging I find crafting endings myself, I thought I’d share with you one that has really impressed me. (If you’re still waiting to read the book, consider yourself alerted to a potential spoiler.)

As always, I think it’s very difficult to explicate (or appreciate) an ending without reading what has preceded it. But I hope something here may seem resonant to some of you, as well. Today, especially.

When he thought of her, it rather amazed him, that he had let that girl with her violin go. Now, of course, he saw that her self-effacing proposal was quite irrelevant. All she had needed was the certainty of his love, and his reassurance that there was no hurry when a lifetime lay ahead of them. Love and patience–if only he had had them both at once–would surely have seen them both through. And then what unborn children might have had their chances, what young girl with a headband might have become his loved familiar? This is how the entire course of a life can be changed–by doing nothing. On Chesil Beach he could have called out to Florence, he could have gone after her. He did not know, or would not have cared to know, that as she ran away from him, certain in her distress that she was about to lose him, she had never loved him more, or more hopelessly, and that the sound of his voice would have been a deliverance, and she would have turned back. Instead, he stood in cold and righteous silence in the summer’s dusk, watching her hurry along the shore, the sound of her difficult progress lost to the breaking of small waves, until she was a blurred, receding point against the immense straight road of shingle gleaming in the pallid light.

From My Bookshelf: Prisoners: A Muslim and a Jew Across the Middle East Divide

CONVERSATION, NOT PROVOCATION
Prisoners: A Muslim and a Jew Across the Middle East Divide
Jeffrey Goldberg
Alfred A. Knopf, 2006
336 pp., $25.00 (Hardcover)

Review by Erika Dreifus

How did a nice Jewish boy from Long Island, New York—a student at the University of Pennsylvania, no less—end up at Ketziot, an Israeli military prison camp in the Negev? More importantly, what happened once he arrived there? These questions, and their answers, guide award-winning journalist Jeffrey Goldberg’s important new book, Prisoners: A Muslim and a Jew Across the Middle East Divide.

The response to the first question comprises much of the book’s autobiographical and “background” material. We learn, for example, that Goldberg acquired a fear of anti-Semitism early on. As a child, he was sensitive to his family history, including “the whirlwind of Russian anti-Semitism” into which his grandfather had been born. Non-Jewish “tormentors” among his middle school classmates “taught [him] how to play ‘Bend the Jew’….” With that background, learning “too much truth” about the Holocaust at age 12 proved “emphatically destabilizing”: “Such knowledge turned the ground under my feet, already giving way, to quicksand.”

Soon thereafter came a Bar Mitzvah trip to Israel, where Goldberg found signs of Israeli strength (“A Jewish tank!”) more than merely reassuring. Such signs were “euphoriants”:

By the time we came home, I burned with love for Israel. I began this mystic pilgrimage a speck of a Jew, but I emerged utterly different, invested with a mission much larger than myself, larger, certainly, than the quotidian and occasionally terrifying life of a Long Island Jewish boy. Israel was my main chance: For nineteen hundred years, since the final Roman obliteration of Israel (they even changed its name to Palestine, in order to erase from the world’s memory its existence), the Jews were chased across the earth. But in 1948, just seventeen years before I was born, the Jews reentered history, building a country out of the cinders of the Holocaust. How could I miss out on this drama?

He couldn’t. He devoured the Leon Uris novel, Exodus. He signed up for a Zionist summer camp in the Catskills. As a college student, he volunteered for a 1986 mission to the then-Soviet Union, to provide aid to oppressed Jews living there (refuseniks, as American Jews like me had by then learned to call them in our synagogues and Sunday school classes, Jews refused the right to “make Aliyah,” as Jewish immigration to Israel is called).

Goldberg already assumed that after college, he, too, would move to Israel. But he didn’t wait that long. He dropped out of Penn and boarded an El Al flight to Tel Aviv. Kibbutz life (Goldberg became fairly expert at work in the chicken coop), a military training course, and a job on The Jersualem Post (currently the Washington correspondent of The New Yorker,* Goldberg has also served as a Middle East correspondent for that magazine) preceded his 1990 army assignment to the military police. And here the book’s second major component, detailing the friendship Goldberg cultivated with one of the Palestinians imprisoned at Ketziot during the first Intifada (uprising against Israel) truly begins.

Ketziot, Goldberg writes, “did not feature in any dream of Theodor Herzl, the founder of Zionism, or in any program of [David] Ben-Gurion, who made concrete Herzl’s vision. Ketziot was a city of barbed wire, moldy tents, machine gun towers, armored personnel carriers, black oil smoke, sullen Arabs, and embittered Israeli soldiers.” Ketziot clearly hadn’t featured in any of Goldberg’s visions, either, as the writer explains in this characteristically eloquent passage: “It was outside my frame of reference. Ketziot was a place bleached of color, and bereft of kindness. It was a monument to expediency, poor planning, and the ephemeral nature of cheap building materials. It was a place devoid of culture, an island of small-mindedness and cruelty in a brown sea of sand. And it was swelteringly hot, except at night, when the desert cold seemed capable of cracking bones.”

He tells us that the prisoners “were the flower of the Palestinian Intifada. They were its foot soldiers, squad commanders, generals, and, from time to time, its propagandists, even its lawyers.” Despite the evident ill will many of them displayed toward Israel, the prisoners fascinated him: “Here they were, en masse, my enemy. Who wouldn’t want to know about them? I asked them questions, ceaselessly, about their politics, their beliefs and desires, their families. I poured out questions about child-rearing and bomb-making and the menu for the Ramadan break fast.”

Among the prisoners it’s Gazan Rafiq Hijazi, the eponymous “Muslim” of the book’s title, who most attracts Goldberg’s attention: “I wanted to make Rafiq my friend. I felt this keenly, almost from the moment we met. It was something I believed was actually possible. I sensed the presence between us of the enzymes of friendship. I believed that he liked me. He thought I was kind, for a Jew, and I thought he was smart, for an Arab.”

But what kind of friendship could this be? “We could not go anywhere or do anything. No double-dating, no football games. We could not, for that matter, shake hands in an even approximately normal way. The openings in the fence were too small. A streamlined hand—four fingers pointing straight out, the thumb held to the side—could work its way through, up to the knuckle. So when we shook, we shook fingers.” And, in the winter of 1991, as Saddam Hussein’s Scuds targeted Israel during the Persian Gulf War, they talked. A lot.

Their conversations comfort Goldberg: “I had consoling thoughts about Rafiq—thoughts about the thickening possibilities of peace, a peace that could be made first by two inconsequential soldiers. If Rafiq Hijazi could somehow extend the border of his compassion to take in Jeffrey Goldberg, then why should peace be impossible?” Frequently, however, Goldberg must wonder just how far this border has extended. Is Rafiq really his friend? Goldberg is crushed, for instance, when he offers Rafiq a hypothetical situation in which the Gazan might have the opportunity to kill him; after some hesitation, Rafiq says only, “Look, it wouldn’t be personal.”

But Goldberg can’t quite let go of Rafiq, tracking him down even after they’ve both left Ketziot, even once Goldberg has moved back to the United States, married, and settled in Washington, DC. When he again travels in Israel he goes to Gaza to search for Rafiq. Finding him, he learns that Rafiq, now a professor, is soon to leave for Washington, too—to complete a Ph.D. at the American University.

At this point, Goldberg tells Rafiq that “I wanted to reestablish our friendship for its own sake, and I wanted to see the [Israeli-Palestinian] conflict through his eyes, in order to answer a crucial question: Could the Arabs finally accept—accept, not merely tolerate—the presence of Jews in their midst, and not just Jews, but a Jewish state? Or would we forever be viewed as invaders?” For his part, Rafiq responds with another question: “Could the Jews live with the Palestinians without fear, without guns?”

The relationship and discussions thus continue in Washington. Not always easily, given the continued stresses and conflicts in the broader relationship between their peoples. Near the end of the book, Goldberg realizes an “irreducible” truth: “The maximum Israel could give did not match the minimum the Palestinians would accept.” Still, Goldberg finds hope. Despite their differences and disagreements something else remains true. Each man cares about the other. When “something terrible” happens in Gaza, Goldberg thinks first of Rafiq and his family. It’s “the same thing” for Rafiq: “‘When I hear that there is a bombing in Jerusalem and I know you’re there, I get worried.'” In the end, Rafiq “‘[doesn’t] want [Goldberg] to die. I want you to live.'” This, Goldberg concludes, “might be the start of something.”

My only difficulty with this book—aside, perhaps, from the discomfort anyone more affectively attuned to Israelis than Palestinians is likely to experience in Goldberg’s portrayals of bad will on both sides—concerns its structure. There’s a lot of back-and-forth in narrative time, especially in the book’s early chapters, and it’s not always easy to follow. Some readers may not sense themselves well “situated” in the book for awhile.

On the other hand, the book’s Web site** is all about context. Its superb “Resources” section includes a map, a timeline stretching from 1800 B.C.E. to 2006, and a set of links Goldberg recommends for more information on the Middle East. All those items might have been nice additions to the book, too (the evanescence of Web addresses notwithstanding).

In closing it seems not unimportant to note that during the fall of 2006, when Prisoners was published, another new book, by former President Jimmy Carter, received far more media attention. At the height of the controversies Carter’s book sparked over everything from its title, to the veracity (or lack thereof) of its content, to its one-sided/pro-Palestinian approach, I was reading Prisoners. And given the evident knowledge, humanity, and, not least of all, sustained and often painful efforts to understand “both sides” that permeate practically every one of Goldberg’s pages, I couldn’t help wishing, fervently, that the readers who made the Carter book a bestseller might still turn to Prisoners. That, perhaps, might be the start of something.

*As of the summer of 2007,Goldberg is leaving The New Yorker for a position with The Atlantic Monthly.
**http://www.randomhouse.com/kvpa/goldberg.main.php

(A version of this review was published in the Winter 2007 issue of The Chattahoochee Review.)