Something Pretty, Something Beautiful by Eric Barnes

Two things struck me while reading Something Pretty, Something Beautiful by Eric Barnes (Outpost19, 2013). The first thing is the movement. Not necessarily the way the book flows, though it will keep you interested and curious from start to finish. What I’m talking about is that when Barnes writes movement – a car full of teenagers speeding down the highway, kids running and tumbling downhill into a gulch, fighting and fleeing – it is as though I was right there in the melee covered with mud and booze. The action is swift, it’s breathy, sweaty and, quite often, bloody.

Something Pretty, Something Beautiful is the gripping story of four friends in Tacoma, Washington, and jumps around among moments of childhood until they approach the fringes of adulthood. Brian Porter is the narrator, though Will Wilson is the ringleader, a young man who carries violence and mayhem with him like a flask of whiskey. Teddy and Coe round out the foursome which blows in whichever direction Will Wilson commands. Those winds tend towards fights and break-ins and some arson while always, always moving.

The near-constant movement is what the young men engage in to fill the emptiness, to fight off boredom and, maybe, to keep from thinking of the future and what each might want outside of Tacoma. The book takes place in the 1970s, and if it were today they might all be diagnosed with ADHD. In Eric Barnes’s Tacoma of the 70s, however, teens swallowed a pill of recklessness, violence and peer pressure.

The second thing to strike me didn’t come to me until late in the book, until page 230 to be precise. It is that I hate these people. I don’t hate them for the things they do, although their actions on the whole are awful, but for what they don’t do. No one ever steps in to stop another from doing the awful thing. It is this lack of will, the absence of strength to be decent, that makes them so unlikable as people. This isn't to say I don't like the characters because of a flaw in the writing. Quite the opposite. Barnes paints their personalities and actions so well that I think of them as real, as walking and talking people. And I hope to never come across such in the real world.

The book is dark. Understand that. This is no light beach read. Barnes takes all of the anxiety, frustration, angst, anger, sex and violence that might collectively fill a high school full of adolescents and condenses it down into these four characters. He keeps it simmering on a flame until it's a bubbling roux and then he holds our wrist and forces our hand into the molten mass. The book is raw and touches at something we've all felt, whether it's the hope for something better or the frustration that it might never be.

There is nothing pretty or beautiful in this book unless it is that hope that there might be something better beyond the city limits and the lives these boys are destined to lead. The stories and the writing will keep you involved to find out if it's possible, to know if one or all of them pack up a car at last and find what it is that might save them. As readers, all we can hope to do is grip the roof of that car as it approaches dangerous speeds and hold on for dear life.

Eric Barnes grew up in Tacoma and now lives in Memphis where he is the publisher of The Daily News, The Memphis News, The Nashville Ledger and the host of Behind the Headlines on WKNO.

The Impossible Lives of Greta Wells: a review

In THE IMPOSSIBLE LIVES OF GRETA WELLS (HarperCollins, 2013), Andrew Sean Greer has once again imagined a world for us to inhabit so well that, by the end of reading, we might be able to say, "I've been there." This time, it is the island of Manhattan spread out among three eras. Greer gives us the character of Greta Wells, a woman who becomes unstuck in time just as Billy Pilgrim in Kurt Vonnegut's SLAUGHTERHOUSE-FIVE or Henry DeTamble in Audrey Niffenegger's THE TIME TRAVELER'S WIFE.

For Greta Wells, however, the times are predetermined. She will travel to either 1918 or 1941 rather than land in an unknown time, uncertain of who she will meet or how to react. In her present life, in 1985, Greta Wells is suffering from depression brought on by a great loss in her family. She's offered a series of treatments by her doctor, a new form of the antiquated procedure of electrotherapy. Something happens, though, and with each jolt of electricity in the series, Greta Wells is sent to another time for a matter of days until the next procedure is administered. For these days spent in the past, she lives the life of that time's Greta Wells. She is the same woman whose life is altered in various ways, as though she's looking into several different mirrors, each with its own altering fissure.

There are issues that speak to the times that face each Greta Wells: epidemics of influenza and the AIDS virus, world wars, the limitations of women in society, Prohibition and politics. THE IMPOSSIBLE LIVES OF GRETA WELLS posits the theory held by physicists and novelists for centuries that we may not live our life on one plane of existence and time. That while we are awakening in our house each morning, making a pot of coffee, checking e-mail, rousing the kids for school, that there is another us in another time living a similar life in his own version of morning. Time is not linear, Greer assumes, but deep. It repeats and folds in upon itself, and while our actions here today have specific consequences, the same actions in another lifetime might have set our lives on an entirely different track. It's a freeing feeling, I think, to know we may have more than one chance at all of this.

 

Above all, though, the novel is the story of relationships and how the issues remain the same regardless of era or circumstance. Though actions may alter the course of a day or a lifetime, the ways in which we regard and interact with family, friends and lovers are ever present. While Greta Wells bounces from decade to decade and comes to know husbands, aunts, children and lovers from the past, there is no relationship more prevalent than that between her and her twin brother Felix. It is their bond that acts as balast and holds her fast to each time period in which she finds herself. Her determination to hold on to him, to make life better for him and protect him, causes her to question her very place in history.

I found the construction of this book to be a surprise. I'd expected it to be more like Niffenegger's tale with the protagonist flying through time, never knowing just where she might land. Greer's book allows more structure for Greta Wells, and us, by knowing where she's heading. I wasn't disappointed. Quite the opposite, in fact, as reading the novel helped me to better see a way to build a manuscript I'm currently working on (thank you for that!). 

I do wonder why Greer chose the specific times he did, though. The onslaught of AIDS in the 1980s plays heavily into the story and is juxtaposed with an influenza outbreak in 1918, as well as the ending of World War I. The jump to 1941, of course, coincides with the ramping up to America's involvement in World War II. But there are events throughout the 20th century that would have worked as well. This isn't a criticism, but a curiosity. While reading, I imagined Greer sitting at a desk with three calendars opened before him, each to a different year, and he would move back and forth to write what was happening in a particular month of any particular year.

By the end, the Greta Wells we are first introduced to, a woman made small and helpless in grief, is in control of her destiny and has choices to make that will resonate through her life, the lives of those close to her, and history itself. To make such a decision, she calls upon wisdom gained from every plane of her life, from every life lived. Her life may seem impossible to her at times, but time is only an obstacle to be overcome. Once she's made her choice, the pieces seem to fall into place.

Other novels by Andrew Sean Greer:

The Path of Minor Planets (my review)

The Confessions of Max Tivoli

The Story of a Marriage (my review)

Following Richard Brautigan and Corey Mesler

This is a work of fiction.
Any resemblance to persons living or dead or in-between is coincidence. Even those folks you think are real are as phony as music mingling within a dream.
-- Copyright page of the novel FOLLOWING RICHARD BRAUTIGAN

My confession is that I had no idea who Richard Brautigan was. Indeed, even as I read the novel FOLLOWING RICHARD BRAUTIGAN by Corey Mesler (2010; Livingston Press, The University of

West Alabama), I had no idea if his character was an actual person or a fabrication of Mesler's rich mind. Neither did I search to find out the truth (or untruth) as I read, but relished, instead, the image presented on the page. It wasn't until just now, when I looked him up on Goodreads and Wikipedia, do I see that Richard Brautigan was an actual living, breathing and writing man. Who knew?

Corey Mesler knew and has incorporated fact with fiction into a novel that carries the reader from Oklahoma City to San Francisco and back again. It's a road book and I love a road book. Mesler breaks up his story into tiny little chapters as though we're driving down the highway and stopping every once in a while to look over the edge of a cliff into the bluest ocean or to snap a picture of a reddish butte at sunset or to eat some mushrooms. Mesler tale is constructed in a way some of us may not be able to get away with and each tiny little chapter has its own heading. It seems appropriate, though, as the protagonist, Jack Morton, is a romantic and adventurer, and everything a romantic and adventurer does will (and should) inevitably have its own heading.

Would-be writer Jack Morton travels to San Francisco in an attempt to find his hero, Richard Brautigan, not knowing for sure if the man is dead or alive (he's dead, both Mesler and Wikipedia say). He doesn't locate his traveler, of course, yet does find a young woman, another treasure of a sort. His heart is broken, as is also endemic of romantics and adventurers, though it is mended by a visit from the ghost of Richard Brautigan who leads his protegé on another cross-country trip. This trek is full of strange places and even stranger people and Jack Morton becomes close to the beat icon while remaining physically distant, separated by mortality and one car length.

In the end, Jack Morton seems to find what he needs. He takes something from the counsel of Richard Brautigan and from the journey itself that helps him to repair his heart and find what it is within himself to go on writing.

Mesler's relationship with the pop culture of the 1960s and '70s is an intimiate one, yet the bits and pieces of music, fashion, film, literature and politics don't come across as mere props. He has a talent for putting it all in a context that makes it seem as natural as a well-researched prop in a movie or television show. It adds to the story rather than overshadowing it. It's a magic trick and Mesler is an adept magician.

(I don't know what Mesler's process is for writing, but I imagine him in a darkened room with three separate desks. On each desk sits a psychedelic-colored typewriter and in each typewriter is a sheet of yellow paper and on those sheets of yellow paper is a poem, short story or novel in progress. In my imagining, he types at one until an egg timer in his mind dings and he moves to the next. For twelve hours a day he does this and, once finished, he watches a movie with his daughter. It's a Fellini movie. As each poem, short story or novel is finished, of course, it is published. At the end of Corey Mesler's typewritten journey is our own treasure, dear reader. Now go and find it.)

The Path of Minor Planets

THE PATH OF MINOR PLANETS (Picador, 2001) by Andrew Sean Greer is a book about time. It's the story of how people might go away and then come back, how they change or how very little they change over that time.

The book opens in 1965 on the small island of Bukit in the South China Sea where a group of astronomers has gathered to witness the return of Comet Swift and the meteor shower it promises to bring with it. There are Eli and Kathy Spivak, Denise Lanham, Dr. Manday, Professor Jorgeson, Dr. Martin Swift, the discoverer of the comet twelve years earlier, and his 5-year-old daughter, Lydia. The occasion for this gathering is near perihelion, that moment when an object comes closest to the Sun. The mood is light, the tropical air is hot and bodies, the Earthly sort, move closer to each other in their own, needy perihelion. When the meteors become visible, the scientists take up their posts with excited shouts of "Time!" echoing from the observation deck of the sultan's castle high above the beach as they attempt a precise record of the shower. But when things change, when a small boy falls from the deck to his death far below, there is no record and everyone's lives, like the comet as it comes in contact with a larger celestial object, causing it to waver and wobble, will find their own orbits altered.

The second part of the book takes place in 1971, and a party at Swift's farmhouse to celebrate Comet Swift's near aphelion, the point at which an object is furthest from the Sun. It's a time of uncertainty, the comet possibly lost in space forever, a fact which won't be known for some time. The characters, six years older now, have changed and there is an air of uncertainty in many of their lives as well. They've grown, they've parted ways or had affairs or fallen in love. There is some talk of the boy who died on Bukit, but even exactly what happened that night is uncertain.

The story goes on this way, leapfrogging through the years, six years at a time, as the comet approaches and then recedes from Earth. It's a wonderful way to frame a story and Greer is adept at weaving his language from the scientific to the poetic. The relationships of the characters with each other come and go like the comet, and they are at just as much risk of exploding or fading away. There is loss and death and near misses. In the span of time, from 1965 to 1990, there are children born, friendships ended and rekindled, secrets found out and others kept for eternity.

I read THE PATH OF MINOR PLANETS while on vacation at the beach with an expanse of blue sky as a backdrop during the day and an untold number of stars against the black night. I absolutely love this book. Greer's storytelling is powerful enough to make us look to the sky and wonder at what might be there and to look within ourselves to see what it is we're made of.

(Andrew Sean Greer's new novel, THE IMPOSSIBLE LIVES OF GRETA WELLS, comes out June 25, 2013. I'm a big fan and have enjoyed previous novels THE CONFESSIONS OF MAX TIVOLI and THE STORY OF A MARRIAGE. If you haven't read him, treat yourself today.)

Reunion by Alan Lightman

A reunion is a coming together, a reuniting of like minds that have shared like experiences. At the core of REUNION (2003, Pantheon Books) by Memphis's own Alan Lightman, however, is detachment. In the opening scene, Charles, a small-college professor, is lying post-coitus with a woman and wishing he was someplace else. "I fly above mountains, dizzy, frightened," Lightman writes. Charles is there, but he isn't, in this house that once belonged to an ex-wife who left it to him. It is his, but it isn't. On televsion, Charles and Sheila watch news footage of a devastating Honduran earthquake and, even as Sheila says she will donate money and urges him to, as well, he has trouble mustering sympathy for something so far away. "The truth is, I feel no connection to the faces on the screen. The Hondurans

are just so many electronic pixels."

Charles attends his twentieth college reunion alone and wanders the campus as though it is all new to him. He talks with classmates who he has no real affection for, and then he begins to recall an episode from his college days with intense clarity. It was during that time that he met the great love of his life, Juliana, studying to be a ballet dancer. The bulk of the book is spent in flashback, which switches from the opening first-person narrative to third-person. The protagonist is Charles, but it isn't.

Juliana lives and works in New York City, a two-hour bus ride for Charles; another instance of detachment. He becomes obsessed with her, wanting to be with her at all times and thinking only of her as he sits through biology and poetry classes. The time is the 1960s and, even as the names of classmates are added to a list of the dead in Vietnam, Charles feels no connection to this war or its protesters that he is of age to join. Juliana, too, is aloof. She tells him she loves him, but not as much as he says so. Much of their time together is spent with him watching her practice and then watching her work at a small diner where she waits tables. He is with her, but not.

When Charles suspects Juliana has found another lover, he becomes paranoid and obsessed with the idea. He has the heart of a poet and we see it flayed open, his agony at their distance and his not being able to have her in the way he wants as raw as an exposed nerve. There is risk in such obsession and Charles learns what the penalty is, still feeling it as though touching a hot stove even after more than twenty years.

Throughout the story, we are brought back to the first-person and the present where Charles picks among the shadows of the campus where all of this first happened, but it is obvious that his mind is not in the moment. He is here, but he isn't. His time and experience with Juliana shaped him in the way that we're all shaped by first loves, and first heartbreaks. Lightman is a trained physicist, a scientist, yet he, too, has the heart of a poet.

James Conaway's "Nose"

Way back in 1993, James Conaway published his memoir MEMPHIS AFTERNOONS. Not long after that, he came to Memphis for what was then the River City Writers series of lectures at the University of Memphis. I went to a reading and signing of the book, and we later met for drinks at Old Zinnie's in Midtown. I was writing then, though I never would have said of myself, "I'm a writer." It was all too new for me, I was an unfocused and gangly 23-year-old, still green on the vine. But I wrote every day and I told Jim this and he told me that, if that were the case, then I was already far ahead of many of the graduate students he'd taught. He implored me to continue. I didn't ask him to read anything I'd written and, blessedly, he didn't ask to see any. I can't imagine what I might have been working on then, but know for a fact it would have gone down bitterly, with an aftertaste of youth and angst throughout.

Nose by James Conaway

Jim advised me to go on writing daily and yet I did not. Things happened in the intervening years, movement, a business was bought and sold, kids were born and, for a time, I stopped writing altogether. I lost whatever advantage I may have had by simply putting my pencil down. And then I started back, wrote some short stories, some journalism, a few novel manuscripts, and seventeen years later I would find myself sitting across the table from the novelist Richard Bausch. Over copious glasses of wine, coincidentally, he would bolster the idea in me that a writer must write every day. "Do the work," he would say, and he would also tell me and my fellow Moss workshoppers that the goal was to make it all seem effortless. He said, paraphrasing, to write it and rewrite it and work at it until the reader doesn't even realize he's reading.

I've just finished reading Conaway's latest novel, NOSE (Thomas Dunne Books), and it is effortless. The sense I had while reading it was that I was sitting down with the author in a comfortable bar, sipping wine, and listening to a story being told. The story in this case is of a valley in Northern California where wine, and the subsequent effluvia, is the main cash crop with players going back generations or, in some cases, only days. Les Breeden tumbles into town on a Pacific breeze to work at the area's small newspaper, only to be laid off before that breeze has ceased to blow. He meets some regulars in a bar called the Glass Act and becomes entangled with the wife of Clyde Craven-Jones, the preeminent wine critic. Craven-Jones – CJ, as he's known – has had a mystery bottle of Cabernet left on his doorstep that garners his highest rating. But who left it there? No one comes forward and the hunt for the mystery vintner leads us through a valley peopled by farmers, high society, drunks, scientists, capitalists and immigrants; oenophiles all, their veins flowing with the thick, fruity stuff.

Conaway is knowledgeable in wines and how they come to be, there's no disputing that. His nonfiction bestsellers NAPA and THE FAR SIDE OF EDEN can be consulted if any question to pedigree arises. The trick here is that he doesn't hold that knowledge over us. The danger in a novel such as this is that talk of climate and soil, microbes and fermentation, will bog us down and make the vintage undrinkable. Not the case. It's all there, yet is handled in such a way, with humor and a certain amount of industry self-deprecation, that we don't even realize we're learning something new.

I've read many of Conaway's books and enjoyed them all, but there is a special place on my shelf for MEMPHIS AFTERNOONS, the vine of that memoir being grafted, as it is, with Conaways and Alleys. There is much to love in this new pour as well. There is mystery and some tragedy. There is great dialogue and wit and hope. These are the ingredients necessary to blend a book that is enjoyable, fast-paced, fun and effortless.

Read more at NOSE and at Thomas Dunne.

Long Gone Daddies

LONG GONE DADDIES (John F. Blair, Publisher, 2013) is a book about the road and redemption, trains and beer and long legged women who dance like water and scheme like politicians. It's about all the things that make for a good blues, rock-n-roll or soul song. It's a book about finding that song, and one about the people who search for and find – or don't find – that song.

The first novel by David Wesley Williams is about the men of the Gaunt family, three generations long. You know them – Malcolm, John and Luther – they make up the fault line that runs from Sun Studio to your favorite playlist on iTunes. No matter that they're men of fiction because so are the melody and lyrics. Williams tells the story of Malcolm Gaunt, a man who would be Elvis, destined to record for Sam Phillips until fate intervened that fateful morning. Malcolm's son, John, leaves Scranton, PA, and a good woman, to find his song in Memphis, a city that eventually swallows him whole. Luther takes up with the family guitar, a Cassandra Special Rider, and he and his band, the Long Gone Daddies, make their way through the south to that city on the river.

Along the way, the band meets up with Delia, a woman who would be queen, a woman in search of her own song and her own place nestled on the Billboard charts. She's hitched a ride and is not sure of the language the Daddies speak, exactly who Furry Lewis was or why the fascination with singers who died in small plan crashes. Luther isn't sure why Delia is still there, though he finds out soon enough and the resulting verse threatens to bring the band, and Luther, to its knees.

LONG GONE DADDIES is an anthem to old-style country, blues and rock-n-roll as much as it is an anthem to the muses that made it all so. The muse, in this case, is a lady, and that lady is the city of Memphis. As much as we come to know the Gaunt men and Delia, one of Williams's greatest characters may be the city itself. He writes of her streets and ghosts lovingly, knowledgeably and with a certain amount of awe and respect.

In one chapter late in the book, Luther offers a soliloquy for the city:

" ... I believe in Memphis, the great lost city of sound. I believe it'll come back. I believe there are untold hit songs waiting to be written and sung. I believe the world's leaning toward Memphis, whether it realizes it or not, craning to hear. I believe in the second coming of Otis – maybe he's white this time, and has a fear of flying – and of Elvis – maybe he's black and will refuse to become some ol' carny's movie prop. I believe this city is sad and blue and rather tired at the moment, but there's all manner of crazy shit bubbling under. There always is. The river brings a new supply every day."

It's dramatic and romantic, sure, but songs always are, or should be, and when you read LONG GONE DADDIES, you will hear the music. Williams has a great ear for cadence and his sentences, each a story in its own right, put you in mind of the music and music in  your mind. And he can put you in the Memphis of 1953 just as easily as a Beale Street that's been "... tidied up and tamed, strung up by a short leash and turned into a tourist-beckoning, two block strip of nightclubs: bourbon renewal."

Things happen to Malcolm, John and Luther once they get to Memphis, the city has her way with them, as it has with everyone who came here looking for fame or fortune, or the hook of a song. Lucky for us, she had her way with Williams as well, and its great to finally have his book out here in the airwaves.

Two Books About Reading: Hornby & McMurtry

Most of the time I have several books being read at one time. I'll keep one or two in my office and another on the bedside table. Currently on that table is the novel Art in America by Ron McLarty and David Copperfield by Charles Dickens, a book I've been reading for two years now. I refuse to say I'm not going to finish it – I will – I'm just taking my time. In the office last night I finished two books within an hour of each other: More Baths Less Talking by Nick Hornby and Literary Life: A Second Memoir by Larry McMurtry.

It was pure happenstance that these two books were read at the same time; a happy accident. I've written here about Hornby's column, collected into this latest book, "Stuff I've Been Reading," in the magazine Believer. It's the job I want, writing that column about reading and everything that goes on around it, propelling it and getting in the way of it – family, work, television. If I could figure out a way to copy the concept and someplace that would allow me to steal so brazenly, then I would do so in a heartbeat. McMurtry's book is the second in a trilogy of subject-specific memoirs. The first, Books, focuses on his bookselling empire in Archer, TX, how he got started in reading books, and in scouting and selling them. It's a fascinating subject to me and, so, McMurtry is the one to get into to satiate that curiosity. Literary Life deals with his life as a writer and, for someone who's written over 40 books as well as screenplays, it's slim at 175 pages. The third installment, he reminds us throughout the current book, is on his Hollywood life. I can't wait.

There are similarities in the two writers, though not with their writing style. Both Hornby and McMurtry have written fiction, nonfiction and screenplays. Both, as we see in these books, are adept with literary criticism. Both had their first novels turned into well-received movies – Hornby, High Fidelity; and McMurtry, Horseman, Pass By which was made into the film Hud. It could be said that Nick Hornby is my generation's Larry McMurtry. I guess. I'd probably never say that, but there are the similarities. Age, however, gives McMurtry the edge on being McMurtry. He's prolific, he's a man of letters, he was president of PEN America for two terms and he's won a Pulitzer Prize. I must admit, though, that, other than the first two books of these memoirs, I've never read anything by him, while I've read everything Hornby has written.

I admire both, though, not just for the work they do in putting pen to paper, but in the lives they lead surrounded by what it is that drives all writers: books. They both write of them lovingly (of others' books, they're both far too self-deprecating and humble to laud their own prose, the most either of them say about their output is something akin to, "I guess that was pretty good" or "People seemed to like it"). McMurtry is a wealth of knowledge and references authors and books throughout that I had never heard of, but which piqued my interest. The purpose of Hornby's column is to pique interest and he does so to the point that I had to read this collection with a pencil in hand to underline the titles I want to seek out. He never bashes, and only writes about those books he enjoyed or took something from, and I commend that. There are plenty of bad books out there, but there are so many good or great books that there is no point in spending the time and space to tear another writer down.

There are plenty of books. No one highlights this fact more than McMurtry, whose bookselling empire encompasses three massive buildings in Texas. In the book business, the majority of books printed and put up on the shelf for sale are regarded as "wallpaper." They're there to fill space and make a shop interesting, and the reality is that there are only a handful of books that are expected to sell and that are marketed that way. It's dispiriting, isn't it? Both as a lover of literature and, especially, as someone who writes and hopes to sell it. But that's precisely why books such as these – More Baths Less Talking and Literary Life – are important. The authors take those tomes off the shelves, they tear down the wallpaper and read it, think about it and share it with us. Maybe it's a good model for all of us who love reading. Sure, you can read the latest bestseller, anything in the Top Five on The List, whichever list you adhere to, but then find out who that author reads and read his or her work. I eagerly await Hornby's next novel but, in the meantime, maybe I'll read Brooklyn by Colm Tóibín because I've never read any Tóibín, but Hornby really liked that book.

Both men are avid, almost compulsive, readers and both, certainly, are writers. The reading, they both agree, informs the writing, and both touch on it wonderfully toward the end of their respective books. Indulge me as I copy those passages here so that I will know just where they are when I need the same inspiration and guidance that they find on their own shelves.

Larry McMurtry:

Seeing my books reminds me that, in a modest way at least, I'm part of literature and the whole complicated cultural enterprise that is literature. I have tried to write books that belong with the books I have gathered and read. The process is far from simple. My thousands of books are mainly the work of minor writers such as myself. Minor writers provide the stitchery of literature. Besides, major writers often find themselves writing minor books. Major writers aren't major all the time, and minor writers occasionally write better than they normally do, sometimes producing a major book. The commonwealth of literature is complex, but a sense of belonging to it is an important feeling for a writer to have and to keep. Sitting with the immortals does not make one an immortal, but the knowledge that they're around you on their shelves does contribute something to one's sense of what one ought to strive for. An attitude of respect for all the sheer work that's been done since scribes first began to scratch on clay tablets is a good thing to cultivate.

Nick Hornby:

One of the things that did me no good at all in the formative years of my career was prescriptive advice from established writers, even though I craved it at the time. You know the sort of thing: "Write a minimum of fifteen drafts." "A good book takes five years to produce." "Learn Ulysses off by heart." "Make sure you can identify trees." "Read your book out loud to your cat." I cannot tell an oak from another tree, the name of which I cannot even dredge up for illustrative purposes, and yet I got by, somehow. Walk into a bookshop and you will see work by writers who produce a book every three months, writers who don't own a TV, writers with five children, writers who produce a book every twenty-five years, writers who never write sober, writers who have at least one eye on the film rights, writers who never think about money, writers who, in your opinion, can't write at all. It doesn't matter: they got the work done, and there they are, up on the shelves. They might not stay there forever: readers, now and way off into the future, make that decision. Claire Tomalin's wonderful and definitive book (Charles Dickens: A Life) is, above all, about a man who got the work done, millions of words of it, and to order, despite all the distraction and calamities. And everything else, the fame, and the money, and the giant shadow that he continues to cast over just about everyone who has written since, came from that. There's nothing else about writing worth knowing, really.

Now, I think I'll go read.

Join me over at Goodreads!

My Year In Books: 2012

These are the books I read this year. I won't rate them or suggest certain books over others. Instead, I suggest you read them all, or read something – everything you can – in 2013.

Join me over at Goodreads!

1. Deaf Sentence: A Novel by David Lodge
2. The Book of Joe by Jonathan Tropper
3. Treasure Island by Robert Louis Stevenson
4. Ghost: A Novel by Alan Lightman
5. How To Talk To A Widower: A Novel by Jonathan Tropper
6. This Side Of The River (manuscript) by Jeffrey Stayton
7. Plan B by Jonathan Tropper
8. Enchanted Night: A Novella by Steven Millhauser
9. The Saturdays (The Melendy Family, #1) by Elizabeth Enright
10. Every Night's A Saturday Night: The Rock 'n' Roll Life Of Legendary Sax Man Bobby Keys by Bobby Keys
11. North River by Pete Hamill
12. The Frozen Rabbi by Steve Stern
13. The Roots of the Olive Tree by Courtney Miller Santo
14. We Are Billion Year Old Carbon: A Tribal-Love-Rock-Novel Set in the Sixties on an Outpost Planet Called Memphis by Corey Mesler
15. Look at the Birdie: Unpublished Short Fiction by Kurt Vonnegut
16. The Story of a Marriage: A Novel by Andrew Sean Greer
17. The Art of Fielding by Chad Harbach
18. Case Histories by Kate Atkinson
19. The Man in My Basement by Walter Mosley
20. The Four-Story Mistake (The Melendy Family, #2) by Elizabeth Enright
21. The Amazing Adventures of Kavalier & Clay (re-read) by Michael Chabon
22. One Writer's Beginnings by Eudora Welty
23. A Thousand Acres by Jane Smiley
24. One Last Thing Before I Go by Jonathan Tropper
25. Beautiful Ruins by Jess Walter
26. The Simplest Pattern (manuscript) by Richard J. Alley
27. The Zero by Jess Walter
28. Telegraph Avenue by Michael Chabon
29. Then There Were Five (The Melendy Family, #3) by Elizabeth Enright
30. Elsewhere by Richard Russo
31. Lucky Jim by Kingsley Amis
32. In the Night Season: A Novel by Richard Bausch
33. Spiderweb for Two: A Melendy Maze (The Melendy Family, #4) by Elizabeth Enright
34. Junior Ray by John Pritchard
35. Motherless Brooklyn by Jonathan Lethem
36. Franny and Zooey (re-read) by J.D. Salinger

Telegraph Avenue

I’m not a writer with a set time of day to work on fiction. I’m more comfortable letting the mood strike me and putting down what I want to say, though I do try to touch on it each day, whether it’s writing a new piece or revising something previously written. A lazy writer, the mood does nevertheless tend to strike me at the same time each day, in the late afternoons and early evenings. It’s not an ideal time for someone with a house full of people, dinner to tend to, laundry, dishes, homework and bedtimes. I should be more disciplined, perhaps, I should set my clock for sometime deep in the a.m. or burn the midnight oil well into a new chapter. I have friends who write each day at the same time and I envy them their discipline. I’ve done this before, but only when I’m near the end of a project and want to push through, when the light at the end of the tunnel flutters my eyelids and wakens me before the alarm clock.

I’ve read that Michael Chabon, if he’s near the end of a novel, or on a particularly difficult portion of whatever he’s working on, will say goodbye to his wife and four kids for a stay in a hotel where solitude and peaceful working conditions help him realize his goal. I can’t imagine even suggesting such a thing in my home. Then again, I don’t have a Pulitzer, or any bestsellers, (or a published novel) to back me up. Chabon’s latest, Telegraph Avenue (Harper, 2012), is more evidence for why the man should have his own suite at the Chateau Marmont.

The book is the story of Nat Jaffe and Archy Stallings, longtime friends who are struggling to keep their record store, Brokeland Records – a haven for the denizens of Telegraph Avenue, for the hip, the has-beens and the policy makers of pop culture – open in the glare of a corporate megastore, Dogpile, threatening to take up residence in the neighborhood. Their wives, Gwen Shanks and Aviva Roth-Jaffe, are partners in a midwifery practice and face their own struggles for acceptance in a world of ever-increasing medical convention. Archy’s estranged father, Luther Stallings, a one-time kung fu champion and blaxploitation film star, is a source of concern for his son like a migraine sneaking up from the back of the skull. And there are so many more, a whole, colorful cast of characters carrying the backbeat of plot like Parliament Funkadelic or the MGs.

In Telegraph Avenue, I imagine Chabon takes to heart the old adage “Write what you know.” Maybe he did a lot of research for his story based in Berkeley and Oakland, and the worlds of vinyl soul albums, 1970s film noir, leisure suits and all manner of vintage and pop culture from the late 60s and 70s. But maybe, when he had a question, he simply walked across his office to a wall-length bookshelf and took down a comic book or album to peruse, read, listen to and study. He loves this world he inhabits and wants nothing more than to give us a tour with a soundtrack provided by his very own mix-tape.

All Chabon books will forever be compared to The Amazing Adventures of Kavalier &Clay (Picador, 2000), which is unfair, but it is a book I carry with me; not physically, though I probably could the way Nate Jaffe’s son, Julius, carries his portable, plastic eight-track player, but inside me where it hums just as Nat keeps a constant beat in his head. It is a book that astounded me the first and second time I read it. The characters of Joe Kavalier and Sam Clay live in a real world swirled within the magic and fantasy that their dreams, fears, relationships, and lives are hinged upon. Telegraph Avenue isn’t so different, though the nostalgia – and there is nostalgia, to be sure, try not to overdose on it – takes us back, not to pre-World War II Prague, but to post-Vietnam San Francisco, and into the bedrooms of every 14-year-old boy ever, replete with the sloppy experimentation in music, sex, pop culture, and the independence they all precipitate.

There are small, insignificant issues I have with a storyline or two, but I’m willing to let those go because of the writing. There is nothing quite like a Chabon sentence. It’s like a steak dinner or a chocolate cake dessert, not just a slice, either, but the whole damn thing eaten in one sitting, with some ice cream on the side, and maybe a glass of ice cold milk.

Regarding writing sentences, Chabon told NPR’s Fresh Air:

“Sentences are the purest, simplest, most pleasurable part of writing for me. And it's the part that comes the easiest to me. … I love that aspect of it: the shaping of sentences, the crafting of sentences, that's the fun part of writing for me.”

And it shows. He packs so much into one sentence that I tend to read a page or two and then back off, lean back on the sofa, loosen my belt and digest it all. There is, of course, Part III, “A Bird of Wide Experience,” with its single, 12-page sentence, but that’s just showing off and, frankly, unnecessary. It’s more a testament to Chabon’s standing in the publishing world, and an overeager editor, than his writing ability. Can you imagine an unknown author including that bit in a query letter to an agent? “Oh, and in the middle I include one single sentence that goes on for a dozen pages. People will love that.” The rejection letter would be much more brief and written immediately after reading that queried sentence.

But that’s nitpicking because the writing is beautiful, all of it, every adjective (plenty), comma (many), clause, phrase, digression and aside. Chabon hooks his words together like train cars to take us on a journey through descriptive lands peopled with fanciful citizens, all dressed to the nines in their flamboyant Aztec numbers, and all strutting to their own brand of funk.

Beautiful Ruins & One Last Thing Before I Go

So often I come across books by happy little accidents. While browsing through a used bookstore, a book with an interesting cover or with a synopsis on the back or flap will grab my attention. It is one of the most thrilling things to find a novel I've never heard of, even better if it's by a writer new to me. Many of my favorite books have come to me this way.

Occasionally, though, there are those novels that I know are coming out and I look forward to for months. Jonathan Tropper's One Last Thing Before I Go is one such book. I've read everything by Tropper and have been wildly entertained by all of them. Hearing that he had a new one on the way was like hearing that a favorite relative would be visiting for Thanksgiving. Conversely, Beautiful Ruins by Jess Walter was one of those I happened on in the bookstore. It was new at the time and the cover was so striking that it drew me in. Since its release and before my purchasing it, I'd read about it and seen some great reviews, so my interest was piqued. I haven't read anything else by Walter, but I look forward now to delving into his other work. And I'm sure I'll look forward to his forthcoming novels as well.

Beautiful Ruins by Jess Walter (HarperCollins 2012) is a multi-generational story that takes us back and forth between 1962 and the present day. We are transported from the rocky coast of Italy to Hollywood, from Seattle to Idaho to London. Pasquale Tursi is the heir to a failing hotel in a failing fishing village called Porto Vergogna near Genoa. His dream for his hotel, which his father named The Adequate View after a conversation with the American war novelist Alvis Bender, is to attract Americans, and to that end he is building a beach on his rocky outcrop and planning a tennis court that will cantilever out over the water. His dream comes partially true when a young American actress, Dee Moray, shows up from Rome while on hiatus from the filming of Cleopatra. Her arrival sparks something within Pasquale and visits upon the poor Italian hotelier a host of characters including weaselly Hollywood publicist Michael Deane, a couple of thugs from nearby Portovenere and Richard Burton. But her arrival also brings something else to Pasquale: hope. He learns something of himself and his dreams in his conversations with her, and in the drama that unfolds.

Present day Hollywood shows us a Michael Deane who has become successful many times over, lost it all at times, and rebounded quite well. When Pasquale Tursi shows up, older now and searching for a lost love, he is given the chance to atone for sins from decades before. Whether he takes the opportunity is a matter of character and momentum built up from so many years in a shallow and crass business. The inclusion of Dee Moray's son, and the revelation of the identity of his father, is another turn in a novel full of intricate plot twists.

Where Beautiful Ruins spans 50 years and shows us how people's lives, hopes and dreams will change – or stay the same – within such time, One Last Thing Before I Go by Jonathan Tropper (Dutton 2012), spans one week in the life of Drew Silver. Silver, as he's known, is the one-time drummer from a one-hit-wonder band called the Bent Daisies. We meet him just before his ex-wife is to be remarried and just before he finds out he may die at any moment. Sound depressing? The talent of Tropper is that he can find the humor in the most mundane, and most frightening, occurrences in life. There is plenty of sadness and despair, some tears, and yet many moments of laughing out loud.

Silver lives in The Versailles, a long-term efficiency hotel populated by divorced, middle-aged men who see, or don't see, their kids intermittently, and who spend much of their time around the hotel's pool ogling young women visiting from the nearby college. Silver's own daughter is college-age, and long absent from Silver's life, yet determined to ease herself back in with the news of Silver's impending demise. His ex-wife's fiancee is the surgeon who diagnoses Silver's condition, and who ironically wants to save the life of the man who is a constant wedge in his relationship.

There are ruins in both books that are not man-made monoliths decaying from time and wear of the elements, but are the very lives and relationships of their characters. Pasquale Tursi's dreams are only partially realized, Drew Silver's were realized for a fleeing moment and may have cost him his family, if not his life. Dee Moray finds and loses love several times, while Michael Deane's life is merely a thin sheen of fame and fortune.

We all know pain, we all know loss and all of our dreams seem unreachable at different moments in our lives. It's in how we handle such adversity and longing, and even successes, that makes our lives into beautiful monuments or beautiful ruins. Both of these writers – Tropper and Walter – are adept at capturing the heartbreak and euphoria, and, even more difficult, they do so with a gentle, easy humor.

Because I Said So: Dinner table conversation a test of dad's knowledge

I could write a different version of today's "Because I Said So" column daily given the range of topics my kids come up with. Just last night we discussed The Amazing Adventures of Kavalier & Clay by Michael Chabon, The Cay by Theodore Taylor, Bluebeard by Kurt Vonnegut, Mark Twain, bad words, school and dreams we've had. It doesn't seem like supper should take long enough to eat to have the been able to cover so many subjects but, believe me, it does.

Please enjoy today's column, because Middle-Aged Man says so.

Dinner table conversation a test of dad's knowledge

Suppertime conversations around our table often jump back and forth in topic like a poorly edited film. Non-sequiturs are served as a side dish to fried chicken and pot roast. Talk of school and television, upcoming plans and the gossip of friends are revealed like the striated layers of a casserole.

The other night the subject of superhero powers came up. Specifically the question was "What two superpowers would you want if you could pick?" It's the sort of palaver a palate might appreciate with a Southern staple of meat and two.

The kids bandied about the obvious choices — flying, invisibility, being really small or really fast. Me, I told them my superpowers, if it were up to me, would be a tolerance for lactose and to shape shift into a morning person. Such is the secret identity of Middle-Aged Man.

Kids, on the other gloved hand, consider themselves immortal and dream to flaunt that immortality with an ability to fly or jump or to be unseen as they lurk from room to room.

I flew to the kitchen mid-meal to refill a wineglass and returned to suggest, "X-ray vision!" not realizing the talk had advanced with a new question: "What country, other than this one, would you want to live in?" My superpower exclamation was met with super sighs and eye-rolling, you have to be quicker than Flash to keep up with the plot points around this table.

Italy, France, Brazil, England and Greece were all mentioned in this category. I'm pretty sure someone suggested Florida. The conversation devolved into a stereotypical discussion of accents, informed more, I'm afraid, by years of viewing "The Simpsons" and "House Hunters International" than anything learned in school. The kids are conversational lightweights at best.

It occurs to me now that I probably should have visited my own wish list for powers upon this nascent Jobless League of America. What would I imbue them with were I to inject a Super-Soldier Serum similar to Captain America's into their meatloaf? Invisibility is a possibility, though super silence might be better.

I leapt to the kitchen to slice more bread (and to top off the wine) only to return and hear my son talking about Middle-earth. "That's not even a real place!" I scoffed, imagining him applying for a passport and visa. But they'd moved on without me to a discussion of J.R.R. Tolkien's "Lord of the Rings," something I know even less about than gamma rays or the value of the euro.

There are many times I'm left out of the main course of discourse altogether; times when the incongruity of subjects leaves me standing still and unable to keep up, like a Hobbit attempting to walk up a mountainside of mashed potatoes.

Eating with kids is not a dinner party of high society talk, but a whirlwind of issues and debates that require a superhuman attention span. Stan Lee tells us that "with great power comes great responsibility." I tell you that with a great big family comes great suppertime confusion.

© 2012 Memphis Commercial Appeal. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

A Thousand Acres

A Thousand Acres by Jane Smiley won the Pulitzer Prize for Fiction in 1992. No one won it in 2012. In response to the non-win of this year, Michael Cunningham, one of three Pulitzer jurors, wrote a piece for The New Yorker about why, or why he thought, there was no winner chosen. In this essay, he writes:

A proper respect for the mysterious aspects of fiction is encouraged by the Pulitzer’s guidelines, which are gratifyingly loose. The winning book, be it a novel or short-story collection, must have been written by an American, and should, ideally, be in some way about American life.

That’s it.

Smiley's novel is so much about American life that it's almost embarrassing to read, whether due to the raw emotions and familial relationships that leave the reader feeling naked and, at times, stripped of skin completely; or whether it's the knowledge of farming and farm life that she imparts so adeptly, knowledge that leaves a city boy thinking for the first time, "Wow, that all seems really hard."

A Thousand Acres takes place on a farm. Never mind where it is (it's in Iowa), it could be anyplace that people make a life, such as it is, from putting seed in the earth, watering it, praying over it, and waiting a predetermined number of days before learning if they'll make enough money to sustain them until the next growing season when it happens all over again.

The farm is just as the title says, one-thousand acres, in Zebulon County and has been farmed by the Cook family for several generations. It's a hard life, a life filled with days of routine and back-breaking work, but it's a life the Cooks have come to know; the only way of life they know. Larry Cook, a widower, has three adult daughters - Ginny, Rose and Caroline - and Ginny and Rose each have married men who work the land there, and their families live on the land and within walking distance of the house where Ginny and Rose grew up. They enter each others homes without knocking, making coffee at will, preparing breakfast or dinner, as though they are one big happy family. In walking to each other's houses, however, they're crossing land that is fertile with family secrets that threaten to push through the topsoil like weeds. There is no chemical to stop them, no farmer's trick that will keep such secrets from invading the lives of those who live and work the fields and threaten to do more damage than drought or hail.

The story is intricate, and the setting and characters detailed. The pacing moves with the monotony of farm life, yet is not monotonous. We are caught up in the chores and the fears of weather, with the cycle of life for farm animals and the importance of teamwork. The plot blossoms like tomatoes on the vine, each revelation a succulent piece of fruit to be savored on the front porch.

The Pulitzer finalists in 1992 included Mao II by Don DeLillo, Jernigan by David Gates and Lila: An Inquiry Into Morals by Robert M. Pirsig. I haven't read any of those books, so I can't say with any conviction that A Thousand Acres is better or more deserving, but I can say that it is "about American life." It may not be my life, and it may not be your life, but the emotions, the character traits, the fears and lost hopes and want of something better, if not for ourselves, then for our children, are attributes present in all of us.

Because I Said So: Launching youngest daughter in first grade has its hurdles

As a kid growing up with books of science fiction and black-and-white movies ful of creatures and oddities from outer space, my entire universe consisted of Earth and Mars. Sure, the Moon was there, but the Moon is a neighbor, as familiar to us all as the property fence or a dog's bark. But Mars is the next neighborhood over, familiar for its proximity, yet alien with its different trees, styles of houses, cars and people who look just like us, though they're not neighbors; not completely.

And yet Mars is close. Certainly close enough for alien beings to fly a saucer over for a cup of sugar or to sit on the porch for a spell and, eventually, eat that neighbor's dog. It's close enough for me to have thought as a kid that we Earthlings would one day put a craft, if not a person, on Mars. It was doable. Of course it would be possible, we put a man on the Moon and Mars is just around the corner from there, isn't it?

Probably a stranger concept to a 7-year-old boy than one day touching the surface of Mars is parenthood. Being a father was an entire galaxy away from where I was, and as alien as whatever that was that came from the ship at the end of Close Encounters of the Third Kind. At that age, there is no way a parent could understand what we feel, our fears, our interests, our complete inability to comprehend time and distance in outer space. And yet, when I took G to first grade last week and she melted into me with tears and pleading not to have to go to school, I knew exactly where it was she was coming from. It wasn't Mars, or even the Moon, it was a time and a place I remember well. It's another world called Childhood and it is as strange and exotic a place to me now as a planet called Parenthood seemed to me 35 years ago.

We're all explorers going through new worlds blindly whether those worlds encompass another planet, another continent, the next street over or being responsible for another little life. It's all exciting and, we find out, it's all very reachable. What we need to do is keep our eyes and ears open, learn as much about the landscape as we can and try to enjoy the ride.

This week's Because I Said So column from The Commercial Appeal:

Launching youngest daughter in first grade has its hurdles

Last week, I scattered my four kids like comet tails and left them with their various teachers at their various schools. For the older kids, this is old hat, they're pros who have been at this for years. They may not like it — in fact they don't — but they understand the routine and joined the countdown to the launch of another Memphis City Schools academic year.

But then there's Genevieve. She's the youngest and the most spirited, some will say. A challenge, her parents say. Things did not go well that first morning of first grade. There was a lot of clinging and tears, and even some desperate pleas for her sentence to first grade to be commuted. Alas, I left her there in the capable hands of Mrs. Armstrong and the whole Richland Elementary crew.

I came home, walked the couple of blocks back, and turned on the Internet to see that NASA's Mars rover Curiosity had landed safely the night before. Space exploration fascinates me, and I was enthralled watching video images from the Jet Propulsion Laboratory in California, as the rover touched down and the scientists went crazy with exultation.

That celebration was rightly deserved. Those people landed a buggy on a planet 35 million miles away with more ease and less drama than I had landed my daughter in a first-grade classroom two blocks away. Granted, they're rocket scientists and I'm only a parent, and parenting isn't rocket science. Or is it? Maybe when scientists come upon a complex theorem that becomes easily proven, they say, "Well, it isn't parenting."

Adam Steltzner, a mechanical engineer with the laboratory, said the rover's landing "is the result of reasoned engineering thought." Reasoned thought is as unnatural to a 6-year-old as space travel. When told that school can be fun or that it won't last so long or that her friends will be right there with her, all she can imagine is an endless expanse of black sky, a vacuum of loneliness.

Upon re-entry into the school's atmosphere, while dodging other children and supply-laden parents, my daughter began to break apart, the heat from the classroom too much to bear; the promise of another school year built up until not even her protective khaki jumper could withstand the pressure and she exploded in a barrage of tears. And what could I do? I'm helpless. I'm a parent. I'm ground control, yet I failed to keep her grounded in any sense of safety and serenity, while floating there among her friends and siblings.

They call it the "seven minutes of terror." That's how long scientists had to wait upon Curiosity's entry into the Mars atmosphere before they found out whether their rover was intact on the surface of the planet. It takes us about seven minutes to walk to school in the morning, but I had to wait seven hours to find out that Genevieve did eventually compose herself, that she acclimated to the foreign surroundings of first grade and that her own curiosity about it all proved to be stronger than her home's gravitational pull.

Richard J. Alley is the father of two boys and two girls. Read more from him at uurrff.blogspot.com. Become a fan of "Because I Said So" on Facebook: facebook.com/alleygreenberg.

© 2012 Memphis Commercial Appeal. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

The Boost of the Olive Tree

Okay all you bookish people out there, it's time to rally the troops. My good friend Courtney Miller Santo has a major book release next Tuesday, Aug. 21, with The Roots of the Olive Tree (William Morrow). She has a lot of author events upcoming in places like San Francisco, Seattle, Nashville, Portland, Oxford and Asheville, so if you're in any of those cities, get out there and support her. And tell your friends!

Courtney also needs some reviews circulating out there, so give the book a read and tell the world what you think. Doesn't have to be long, just a few sentences, a paragraph or two, on your connection to the characters and stories. Now, we here at Urf! are big on books - paper, binding, covers, the whole package - but for those of you who like to download a novel and read it on your computer phones, the publisher has a great deal for you. For the rest of this week only, you can download The Roots of the Olive Tree eBook for only $4.99. You can do that right here. So go do that, I'll wait ...

Now, once you've read it, say something about it at the following sites (your review can be copied and pasted into each site to make things simpler):

Barnes & Noble (Scroll to the very bottom of the page to review)

Amazon (You can review the electronic copy now, but not the hardback)

Books-A-Million (Scroll to the lower third of the page, account creation required)

Reviews are also accepted at the Apple Store if an iPad or iPod are your preferred mediums

I was lucky enough to read an advanced reader's copy back in the spring and said a little something about it here.

I also wrote a feature on Courtney for The Commercial Appeal that ran in the paper on May 31, 2012. I'll copy that below so you can get a feel for where Courtney's story began and how it evolved. If this isn't enough, you can read her winning story for the 2012 Memphis Magazine Fiction Contest right here.

Thank you all for your help!

Writer's first novel followed storybook path to publication

Courtney Miller Santo grew up in conditions fertile for a burgeoning writer, a conservative Mormon household with seven children where there was no television to be found. Instead, the large and close family told stories and created plays. They interacted in ways almost unheard of today. And they read.

"My dad was always reading, he would go to bed at 9, and he would always have a book," Santo said of her father, an elevator mechanic.

Santo, the oldest of those seven children, describes her childhood just outside of Portland in Milwaukie, Ore., as "chaotic," yet a bookish manner set in and has paid off for her in a big way as she prepares for her debut novel, "The Roots of the Olive Tree" (William Morrow), to be released in August.

The story is threaded along one olive-growing season, taking a look at the lives of five generations of firstborn daughters and Anna, the 112-year-old matriarch, who wants to be the oldest living human being in the world.

The story, set at Hill House and the family's olive groves in northern California, centers on a geneticist coming to study the longevity of the family just as the youngest, Erin, returns home alone and pregnant.

It's a combination that, the dust jacket of an advance reader copy explains, "ignites explosive emotions that these women have kept buried and uncovers revelations that will shake them all to their roots."

It's a novel with a road to publication almost as intriguing as the tale within the pages. Santo entered her manuscript in Amazon's Breakthrough Novel Award competition in 2011. Out of 5,000 entrants, she made it to the semifinals and the remaining 50 hopefuls. And then she was eliminated. But that's only the beginning of the story because she was then contacted by an agent with the Janklow & Nesbit Associates literary agency who had read the manuscript excerpts posted at Amazon, and wanted to represent Santo.

It is on the West Coast where olives grow and fantasies are realized, and it was there in summer 2011 that Santo's life changed. "I was in the middle of this cross-country vacation that had been planned forever ... and the day after we get home to my grandmother's house in Vancouver (Wash.), she (the agent) calls me and says, 'Sit down, I have an offer, and it's a really good offer,' and she told me the offer, and I was glad I was sitting down because I did not believe it."

That offer was that the book, along with an unwritten second book, would be sold to William Morrow, an imprint of Harper Collins, for six figures. Foreign rights for "The Roots of the Olive Tree" have already been sold to Italy, England, Spain, Germany, Holland and Turkey.

Santo doesn't downplay luck in this adventure. "It just doesn't seem real; it didn't seem real for a very, very, very long time," she said. "This is the dream; this does not happen that you get a company that is so excited about a debut novelist that they put this much publicity and effort into it. I feel crazy lucky."

The women of her novel might be illustrated by a photograph Santo keeps in her office, a tiny concrete bunker on the University of Memphis campus. It's one of her and her daughter flanked by her mother, grandmother and great-grandmother. Santo is a collector of stories. "My mother is a storyteller," she says. "I come from a long line of storytellers on both sides." Some she recalls verbatim in her fiction, those from decades of family lore, and others from time spent as a journalist, and others she presses like olives for the oil and essence that add flavor to her characters.

Though her love of reading and the idea of writing began in the Pacific Northwest, at the age of 18, she "decided to get as far away from home as possible" and went to school at Washington and Lee University in Lexington, Va. She met her future husband, Charlie, there and studied journalism. "I'm very practical, so to say something like, 'I want to write a book' seemed very stupid; it's like saying 'I want to be an astronaut.' Whereas being a journalist, you get your name in print every single day and you automatically get the title of writer. I think sometimes writers have a hard time owning that title."

She worked for the Roanoke Times and the Charlottesville Daily Progress. From those days as a journalist, Santo learned to love fact-checking and says that when she gets writer's block now, she does research. "Whenever I would get stuck, I had this huge stack of books that I checked out from the library about olive cultivation, and if I got stuck writing, I would just pick it up and start to read about how to take a branch from one olive tree and splice it into another olive tree, or about blight."

She would eventually end up in Memphis, where her husband took a job as associate professor of city and regional planning with the U of M, and it was here that she really began to own that title of writer. She worked as the editor of The Lamplighter, the newspaper of the Cooper-Young neighborhood, and was accepted into the Moss Workshop in Fiction, a community writing workshop with novelist Richard Bausch. "Once I got into his class, I realized all kinds of things, like there was such a thing as an MFA program," she said, laughing. "So Richard encouraged me to apply, and I got in and I got serious about writing."

The Moss Workshop took the idea of being a writer, in her mind, from being "abstract and foolish, to something that seemed plausible. But even though it seemed plausible, it's still not something I ever expected to happen in the way that it did." Through the MFA program, she met and worked with mentors such as Tom Russell and Cary Holladay.

"Cary really taught me that if you're going to write for somebody besides yourself, it comes down to revision," Santo said. "You have to be willing to roll your sleeves up and get into the prose and redo it, it's never perfect the first time out."

"She really listened, and she can recognize a good suggestion, and then she can just tear into it," Holladay said of her student and friend. "She's a very aggressive reviser of her work and, of course, it helps that she's got terrific talent and she's extremely well-read."

Last year was a good year for Santo, who also won the 2011 Memphis Magazine Fiction Contest for a short story that will appear in the upcoming June issue. "Her stories are just fun to read," Holladay said. "They're rich, and they're revelatory in terms of human character and experience."

Santo has her hands full with two children, Sophia, 9, and C.J., 7, and the writing of her second book as she anxiously awaits the release of "The Roots of the Olive Tree." But she loves teaching and intends to continue doing so with her undergraduate fiction and literature classes, saying, "I'm a better writer because I teach; it keeps me honest. It's very difficult to critique a student's work and see an error, or a way that it could be written stronger, and then not go back to your own work and recognize every single mistake that you've made."

Says Holladay: "I was eager to get her in the classroom, and right away I saw how comfortable she was as a teacher and how much her students liked her."

Though she writes these days in a place far from the Pacific Northwest, it's a land fertile with writers, where the streets teem with character. It's where her family has put down roots and made a home. "I feel like if you're on the right track, you get little nods along the way," she says. "So I feel like we made the right decision to move to Memphis as a family, and it's been the best decision we've made personally and professionally."

Because I Said So: Dad sees library card as ticket to new worlds for daughters

World explorers

What I left out of this Because I Said So column was that on the day we were at the library, there were kids who appeared to be unsupervised running throughout the children’s section of the Benjamin L. Hooks Central Library. So, on top of getting S & G their very first library cards, and some good books to take home, I also had the opportunity to make the point that they should never act like that in a public library.

Be kind to your books, people. Be kind to your libraries and be kind to your librarians, they’re not daycare facilitators.

The girls had been asking for a couple of days to go to the library and there’s no better request to get from your kids, is there? It’s better than “can I get a new video game?” or “can we go somewhere?” or “why can’t you just have a pool put into our backyard?”

G read through her books and a few days later was asking for more library. The next step, of course, is to teach them both how to use public transportation so that I can stay on the sofa in my air conditioned office the rest of the summer.

Today’s column:

Dad sees library card as ticket to new worlds for daughters
 

On a recent summer day, it came to my attention that my children were bored. This alert was not a subtle one; these are not subtle kids. The two syllables of "I'm bored" came out in the droning, whining tone of one of those French police sirens: "I'mmm bored … I'mmm bored."

Because the temperature was creeping up toward 100 degrees, I packed up my two daughters and took them to the coolest place I could think of: the public library. Once there, I filled out enough paperwork to either get them their very first library cards or to buy a whole other child.

The proud girls were handed their new cards to sign on the back, and then each stared at the shiny rectangle of plastic as if wondering how to turn it on and download something. I told them that with those cards they could take any book in that building home with them.
And that they could now drive a motor vehicle within the city limits. "Really?" they said, wide-eyed and expectant. No, that's fiction.

Is there anything we can give our children that is more exciting, more educational, more free than a library card? It is Alice's rabbit hole, Dorothy's yellow brick road, a winged Pegasus. That little piece of plastic can teach them how and where to satiate their curiosity, the responsibility of keeping up with the card and borrowed books, and that if they sound the alarm "I'm bored" within earshot of me, that they will be forced to better themselves.

Through the colorful forest of trees, we went into the children's section of the Benjamin L. Hooks Central Library, that gleaming glass and steel lodge of literature. The girls perused titles, pulled out some books to get a sense of them, put some back and found a few to take home. My youngest, Genevieve, leaned toward oversize picture books with their tales of tigers, bugs, little boys and girls, and fables from far away. Nine-year-old Somerset focused on her folded-up summer reading list from Richland Elementary School.

During summer breaks when I was a child, my mother would stop by the main library when it was at the corner of McLean and Peabody to pick up a stack of books recommended for a boy my age. It was like a 100-degree Christmas for me. I would make my way through the pile, and she would then return them for another. I don't remember my first library card, but it must have been like being given a license to the world.

Watching my daughters and their growing excitement was especially heartening in today's world of the Internet, Google and the immediacy of knowledge — some good, some bad.

As they walked among the rows of books, their heads crooked slightly to read the spines, it was like the slowest web browser imaginable. Yet it was a great way for me to learn of their interests and to see where their curiosity, if unleashed in a room full of history, science and stories, might take them.

Will there be other milestones as exciting? Sure. They will both one day receive a driver's license, be accepted into college and get married. Those will be days of triumph and of excitement, days when boredom will be as forgotten as that overdue library book underneath Genevieve's bed.

Richard J. Alley is the father of two boys and two girls. Read more from him at uurrff.blogspot.com. Become a fan of "Because I Said So" on Facebook: facebook.com/alleygreenberg.

© 2012 Memphis Commercial Appeal. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

The story of a fiction

(Warning: spoiler alert. Subtle though they are, there are characteristics of character and story here that I believe the author meant to be revealed slowly as a part of plot and structure. To make a point later on, I reveal a bit of that here.)

THE STORY OF A MARRIAGE by Andrew Sean Greer (Picador, 2008) is just that, it’s the story of a marriage. It’s not the story of all marriage or of how a marriage should be, but spotlights the fact that every marriage, every relationship, is so personal and so unique that behind every door is a different story. That’s how it is in Sunset, the book’s setting, a community built outside of San Francisco for soldiers returning home from World War II. “ … and they built a grid of streets and low pastel houses with garages and Spanish roofs and picture windows that flashed with the appearance of the sun, all in rows for fifty avenues until you reached the ocean.”

Within the walls of every house on all fifty avenues, we get the sense that a different story – some happy, some sad, some violent or dramatic or just beginning or in the throws of dying – is taking place. The story Greer lays out for us, though, involves Pearlie and Holland Cook, and how their world is turned upside down when an old war buddy shows up out of the past, wanders into their lives out of the dense fog that hangs over the bay. It’s a riveting story and Greer is adept at giving just a hint of something to come in the next chapter or the next section, and it’s generally something unexpected.

While there is no way to ever know what goes on in someone else’s marriage, the small tragedies and bright flashes of happiness, Greer gets into the lives of his characters, into the mind of Pearlie Cook and what makes her tick or, rather, what she thinks makes her tick; it’s forever changing, it seems, as are the times of the early 1950s, and she struggles with this.

The book is a unique one and not easily labeled, which adds to the appeal for me. As I continue my search for an agent for a couple of novels I’ve written, I’m amazed by the many genres, sub-genres and sub-sub-genres that fiction is placed into in an effort to buy and sell work. I use a website called querytracker.net and on its search page for agents and publishers just a few of the categories for fiction include action/adventure, chick lit, commercial fiction, family saga, general fiction, literary fiction, mystery fiction, romance, western and, of course, young adult. It’s daunting. It’s also a little ridiculous. I recently had some people tell me a book might not be for me because it’s “women’s fiction.” I wasn’t sure what this meant, that my brain, as full as it is of testosterone, football, hunting, Jason Statham movies and ball scratching wouldn’t be able to understand something as nuanced as discussions of menstruation, childbirth, hem lengths and pie making?

So, how to categorize THE STORY OF A MARRIAGE? The protagonist written by Greer, a white male, is a woman. So, it’s women’s lit. But she’s also black. So, it’s African-American lit. There is the theme of homosexuality in the book. Gay/Lesbian lit. Yet it takes place in 1953 and there is a lot of talk of WWII and the Korean War. Military lit … historical lit. The price sticker on the back of this Picador paperback, bought at the Borders going out of business sale a couple of years ago actually labels it as literary fiction.

Literature should be the great equalizer. The printing press itself was more of an impetus to equality than any other invention in our history, yet our books are pigeonholed. I’m not so naïve that I don’t understand why. I know literary agents need to describe a book in few words to sell it, and publishers need it branded before they’ll consider buying it. Bookstores need to know where in the store to place it and online sellers need to know whether to pair your purchase with a set of grill tools, a nursing bra or a pistol.

THE STORY OF A MARRIAGE is a book about love and hope and fear and loneliness and happiness, just as that women’s fiction novel is that I read not so long ago. These are emotions and themes that make up all of us, it’s what we all have in common and should be able to relate to regardless of where on the shelf it’s found.

Every book and story, just as every marriage and relationship, is different. But each is filled to capacity with great characters, plot twists, drama and emotions.

I also highly recommend Andrew Sean Greer’s THE CONFESSIONS OF MAX TIVOLI (Picador, 2004).