STEELE INTERVIEWS: Joanna Luloff

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While on assignment in India, Clare, an international journalist, becomes stricken by an illness which destroys her memory. Once back in the states she’s forced to rely on her husband Charlie and her best friend Rachel to reconstruct the past and her memories. Does she remember specifics of her marriage and her friendship, the things that sustain these relationships? Claire senses that something isn’t right but doesn’t know if it’s her marriage or her friendship or a combination. Can she even trust Charlie and Rachel. The novel is effectively told in different points of view and jumps back and forth from present to past and back again.

I spoke with author Joanna Luloff by phone earlier this month.

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Amy Steele: Where did you get the idea for this novel?

Joanna Luloff: My mom and I talked about her memory loss and how she had to borrow other people’s memories. A lot of years later when I was actually in graduate school, we started to have this correspondence where I would send her a photograph and I’d ask her what she saw in it and she’d do the same for me. I also did an experimental project for a class that I was taking.

I became more interested in the people surrounding someone with memory loss and how it affects them. To lose the confirmation from other people. The story got shifted away from just a person with memory loss to those people surrounding that person and it started to shift away from my family into fictional characters and what it meant to gradually recover their love for each other and the secrets and all this conflict.

Amy Steele: A lot of times you want to let things go from the past and live in the present but obviously there are certain connections which affect how you’re fitting in with certain people.

Joanna Luloff: The idea that memory is very subjective anyway. We frame the story as we remember it. My brother and I have very different recollections of the same event. As a fiction writer, I love to elaborate and add to the story. I know my stories are often changed through imagination.

Sometimes I think you can rewrite and event or create the situation you’d want to have or rework a situation/ investigate it.

Amy Steele: Did you prefer writing a certain character?

Joanna Luloff: I probably had the easiest time writing Rachel’s character because she gets to be an observer and be on neutral ground but she also has her own secrets. She sees so much so it was fun. And Charlie might have been the hardest because he’s a man from England. I lived in England for a really short time and I was really struck by the reserved politeness and stoicism. I tried to channel a bit of that restraint which British men seem to have.

Amy Steele: Do you think writing his character was the greatest challenge in the overall writing of the novel?

Joanna Luloff: I think the biggest challenge I had was not about character or voice but the structure. I needed to figure out the story’s chronology. For Claire, obviously her memories were super jumbled and the characters are constantly moving from the present to the past. My first drafts of the novel were disjointed.

Amy Steele: I was skeptical of everyone involved. How do you organize? How long did it take you to write the novel?

Joanna Luloff: It didn’t take me a long time to write the first draft. I was at least able to knock out the basic foundation of the book. It was a lot of revisions and layering in the mystery or base suspicion of what the truth might be.

I wrote it out longhand and it worked out well because I was able to rip out pages and lay them out on the floor and play around with what needed to go where and I think it helped to be able to see it in different forms. Once that was in place then I did some adding and subtracting where I thought there needed to be more questioning of the character. I was able to play a bit more with how much the characters were withholding from each other, why they were doing that, all the secrecies and the past injuries to layer in eventually.

Joanna Luloff received her MFA from Emerson College and her PhD from University of Missouri. She teaches at the University of Colorado.

She’ll be appearing at Harvard Book Store on Monday, July 16, 2018.

 

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STEELE INTERVIEWS: author Meredith Jaeger

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Boardwalk Summer is the perfect summer novel and not just because its title includes summer. The novel features two timelines of young women in Santa Cruz. In 1940, Violet Harcourt is crowned Miss California and wants to pursue a film career in Hollywood. In 2007, Marisol Cruz begins working for the Santa Cruz Museum of Art & History for its Beach Boardwalk Centennial Celebration. While doing research she discovers Violet Harcourt’s obituary and becomes intrigued.

“With her light skin and dazzling green eyes, Lily likely wouldn’t experience the same level of discrimination that Mari had. In fact, most kids at Lily’s preschool thought she was white. Your father is white, Mari had offered to Lily in explanation. Her whole body tensed whenever Lily asked about her dad.”

As the novel unfolds, readers discover the connection between the women. Marisol learns that Violet knew her late grandfather Ricardo who worked as a performer on the Santa Cruz Boardwalk. Both women face varied obstacles in pursuing their goals. Violet’s possessive husband keeps close ties on her. She’d entered the pageant without his knowledge. The prize included a screen test. Marisol struggles as a Latinx single mother who had to give up her academic aspirations to care for her daughter. She also doesn’t have a relationship with her daughter’s father although they both live in Santa Cruz.

There are plenty of twists and the novel topically delves into domestic violence, sexual assault, immigration and racial discrimination. It’s the perfect novel to sink into at the beach or at a café. Author Meredith Jaeger takes readers to Santa Cruz during two different time periods and effectively links the women. As a graduate of University of California, Santa Cruz, Jaeger is familiar with the setting.  I recently spoke with her about Boardwalk Summer.

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Amy Steele: Where did you get the idea for this novel?

Meredith Jaeger: I got the idea for this novel from a newspaper article in the San Francisco Chronicle titled “Santa Cruz Beach Boardwalk’s Lively History Lives on.” It featured a photograph of the Santa Cruz Beach Boardwalk archivist standing in a windowless room full of boxes and memorabilia collected over a century. The archivist was standing in front of a photograph of the first ever Miss California pageant held on the beach in Santa Cruz in 1924. That gave me the idea of Violet being a participant in the pageant. Also, as soon as I saw that windowless room, I had an image of my modern character, Mari, coming into contact with one of the artifacts from the Boardwalk (Violet’s obituary) and unraveling a 70-year-old mystery.

Amy Steele: You went to UC Santa Cruz and grew up in the Bay Area, how did that influence you? Were you drawn to the place and setting and then added the characters or did you come up with the characters first?

Meredith Jaeger: I love to write what I know and I’m influenced by the world around me. Growing up in the Bay Area, I often visited the Santa Cruz Beach Boardwalk. I have fond memories of riding the Giant Dipper rollercoaster and the Looff Carousel as a kid (and eating funnel cake!). It’s the oldest surviving amusement park in California, so any old timer will tell you all about their favorite childhood memories at The Boardwalk. I choose my setting first, and then the characters populate that setting. Because I set my first novel The Dressmaker’s Dowry in San Francisco, I wanted to set my second in Santa Cruz, a breathtakingly beautiful place I was once lucky enough to call home. I like to write dual narrative fiction, so Mari and Violet came into my head as soon as I knew where my story would take place.

Amy Steele: How much do you draw from your own personal experience do you bring in and how much research do you do?

Meredith Jaeger: I wrote two novels that were never published before I sold The Dressmaker’s Dowry. Those novels drew heavily from my personal experience because I think it’s natural to do that when you’re first starting out as a writer. My novels now are influenced by places I’ve lived and issues I’ve read about, but they don’t necessarily feature things that have happened to me in real life. I put a lot of research into my work, involving hours of reading historic newspaper articles which have been scanned into the California Digital Newspaper Collection online, watching YouTube clips of films, advertisements or anything I can find from the era I’m researching, reading library books and poring over old photographs.

Amy Steele: In your notes at the end you say that you weren’t initially interested in Hollywood’s Golden Age until your editor suggested it and then you became intrigued by its “dark underbelly.” Could you explain a bit more how that aspect captivated you and work into Violet’s journey?

Meredith Jaeger: My editor was the one to suggest that Violet should go to Hollywood. Growing up in California and being in close proximity to Hollywood, it never held the sort of magic for me that it might for other people. When I was eighteen, I took a Greyhound bus to West Hollywood with my friends to go to a Halloween party on Sunset Boulevard and I definitely saw the sleazy side of Tinsel town! (I made out with a B-list celebrity that night). I’m drawn to the gritty underbelly of cities in contrast to their glitz and glamour. With my first novel, The Dressmaker’s Dowry, which is set in Victorian Era San Francisco, the photojournalist Jacob Riis and his nineteenth century photographs of impoverished New Yorkers living in tenements inspired me.  With Boardwalk Summer, I took my memories of Sunset Boulevard and then combined them with research from a fabulous book called The Story of Hollywood by Gregory Paul Williams. Everything I describe about Hollywood Boulevard from the scam artist agents to the panhandlers, to the disheveled men wearing advertisements for plays and psychic shops posing as churches came from my research. The second aspect to Hollywood’s dark underbelly comes in the form of powerful men in the industry committing sexual assault. I worked this into Violet’s journey and it was very timely in terms of the #MeToo movement.

Amy Steele: You bring in many topical themes including the immigrant experience, domestic violence, single mothers. Why did you want to write about these issues?

Meredith Jaeger: Social justice is important to me. Though I’m not an immigration lawyer or a social worker, I have the ability to reach readers through my books and to potentially open their eyes to what’s going on in our country.  It can be so painful to watch the atrocities taking place that it’s tempting to look away. But I urge readers to look closely at themselves and how their actions impact the world. I’m the daughter of an immigrant, so the immigrant experience will always be important to me. The link between mass shootings and men with a history of violence against women is something I find very disturbing. According to the Bureau of Justice statistics, an estimated 45% of female homicide victims were killed by an intimate partner in 2007. I hope readers will be encouraged to read not only my books (I’m a white cisgender woman fully aware of my privilege), but also books by marginalized authors: people of color, LGBTQ authors and authors with chronic illness and disability. Reading opens your mind.

Amy Steele: Did the story unfold as you wrote it or do your map it out ahead of time?

Meredith Jaeger: I mapped it out ahead of time. I used to be a pantser (as in flying by the seat of my pants!) but because my first two novels never found me an agent and never sold, I have since turned into a plotter! I write out a detailed synopsis and chart out my story on butcher paper so that I can visualize the dramatic action. I use Post-Its for different character arcs and I have different colors for each character. I admire anyone who can successfully allow the story to unfold without plotting.

Amy Steele: I like the 1940/ 2007 connections and POVs. You used first person for Violet and third person for Mari. Why did you decide on that?

Meredith Jaeger: Before I signed with my agent, Jenny Bent, I sent her my dual narrative POV novel The Dressmaker’s Dowry. She suggested I change one of the voices to third person to help differentiate them. Jenny is a fantastic agent and she gives great advice, so it was a tip that I stuck with for Boardwalk Summer!

Amy Steele: What attracts you to writing historical fiction?

Meredith Jaeger: I’m a very nostalgic person. I find myself staring at old houses, or antiques, and wondering about the people who once lived there, who once owned these things, and what their lives were like.  I love how writing historical fiction gives me the opportunity to lose myself in the past. And the fashion! Though I’m grateful we live in an age where I can wear flip-flops and yoga pants to the grocery store, I love researching the incredible fashions of the late 1800s and early 20th century. I go a little nuts on Pinterest.

Amy Steele: What’s your greatest writing challenge?

Meredith Jaeger: Finding the time! I worked full-time for a San Francisco startup when I wrote my first novel, so I was only able to write on weekends. Now I’m the mother of a very feisty almost two-year-old, and that presents its own challenges. I plot so heavily because it means I don’t get writer’s block, and I can make the most of the time I do have, when I get a few hours during my daughter’s nap, or I have a babysitter.

Amy Steele: When and where do you write?

Meredith Jaeger: I write at home, in the library or in a café, and I write whenever I can! I write when I have a babysitter for my daughter, and I write whenever I have an uninterrupted stretch of free time, like getting my car serviced. They have Wi-Fi at the dealership and coffee, so what’s not to love?

Amy Steele: What’s on your summer TBR?

Meredith Jaeger: Something In The Water by Catherine Steadman, The Lost Family by Jenna Blum, The Masterpiece by Fiona Davis, Sold on a Monday by Kristina McMorris, Fruit of the Drunken Tree by Ingrid Rojas Contreras and If You Leave Me by Crystal Hana Kim. (And the other books on my shelf I haven’t gotten to!)

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book review: ANY MAN

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Any Man by Amber Tamblyn. Harper Perennial| June 2018| 304 pages | $15.99| ISBN: 0978-0-06-268892-7

RATING: *****/5*

“But more than any of that, as you know, I loathe feminists. It’s by no small miracle that all feminists in America haven’t been stoned to death by now. I’m just telling you the truth. Feminists are pollution, taking a stance, against what exactly, no one in their right mind knows. They are angry, bitter, saggy chauvinists masquerading as supportive, loving sisters.”

If you’re looking for an intense, intelligent and engulfing feminist thriller, you must read ANY MAN. Author Amber Tamblyn challenges rape culture and the problematic treatment of victims and glorification of violence and misogyny through this thriller about a female serial rapist. The novel follows six men: an English teacher, a struggling standup comedian, a bi-racial web designer, a high school student, an alt-right media personality and a transgender man. A uniquely irreverent and impressively original novel, social commentary and crime thriller meld with insightful, sharp prose and diverse writing styles. She weaves in tweets, poetry, internet chat room, a radio talk show. She also flips everything one expects in thriller. [As a companion read, I recommend Dead Girls by Alice Bolin– an essay collection addressing society’s infatuation with violence against women]. Whether she’s using tweets or poetry or an internet chat room or journal entries, it grabs you from the first page and is impossible to put down.  If you’re a woman who has been attacked on social media or elsewhere for expressing her opinion, you’ll really get it.  Tamblyn wrote an opinion piece for The New York Times, “I’m Done with Not Being Believed,” which cemented her place among influential feminists who are changing the narrative around trauma and victimization. I found myself nodding and smiling and cringing and marking passages while proclaiming Tamblyn’s genius and reading as fast as possible.

RATING: *****/5*

Amber Tamblyn will be at Harvard Bookstore on July 24, 2018.

–review by Amy Steele

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show preview: Screaming Females at ONCE Somerville on Saturday, July 7

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if you’re looking to rock out this holiday weekend, indie punk trio Screaming Females will be playing in Somerville in support of their seventh studio album, All at Once, which came out earlier this year. The New Jersey band worked with producer Matt Bayles (Pearl Jam, Mastodon) and modeled the album after a salon-style gallery show. They wanted the new album to capture the spontaneity and energy of one of their live shows.

Drummer Jarrett Dogherty said: “When you’ve been a band for 12 or 13 years, the resources can dry up and you just go back to what feels comfortable. The other option is that you develop stuff that a younger band would not have been able to do.”

$15, Saturday, July 7, 8:30 p.m., ONCE Lounge and Ballroom, 160 Highland Avenue, Somerville, https://www.oncesomerville.com/.

 

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new music: Phantastic Ferniture

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Phantastic Ferniture, “Gap Year”

heavy indie guitar propels this captivating song with vox that sound like Juliana Hatfield.

Sydney, Australia solo artists Julia Jacklin, Elizabeth Hughes and Ryan Brennan decided it might be fun to form a band while celebrating Jacklin’s 24th birthday.

Jacklin said: “Ryan never played drums in bands, Liz had never been a lead guitarist, Tom didn’t play bass and I’d never just sung before.”

Hughes added: “We wanted a low level of expertise, because a lot of good music comes from people whose passion exceeds their skill.”

Phantastic Ferniture’s self-titled debut album will be out July 27, 2018 on Transgressive.

track listing:
1. Uncomfortable
Teenager
2. Bad Timing
3. Fuckin ‘n’ Rollin
4. Gap Year
5. Take It Off
6. Parks
7. I Need It
8. Dark Corner
Dance Floor
9. Mummy y Papa

 

 

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new music: Isla Craig

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Isla Craig , “Love Song”

–a gorgeous, meditative song with ethereal vocals and varied instrumentation with organ, saxophone, bass and synth. It’s a dreamy eclectic soundscape, a genuine auditory treat. I’m looking forward to hearing the entire album from the Toronto-based multi-dimensional vocalist and songwriter.

The Becoming, the third album from Isla Craig, will be released on June 22, 2018 on Pleasence Records.

Track List:

  1. Intro
  2. The Becoming
  3. Out Of A Dream
  4. Love Song
  5. I’m Lost
  6. Faraway Blue
  7. Who Am I
  8. The Becoming (reprise)
  9. Bird Of Paradise
  10. There Is A Hole
  11. Messages (garden Edition)
  12. Gregory

 

 

 

 

 

 

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new music: Salim Nourallah

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If you’re in the mood for some moody indie rock, check this out.
Singer/songwriter Salim Nourallah will be releasing a double-album, Somewhere South of Sane, this fall on Palo Santo Records. Nourallah calls it “the work of a functional crazy person.” The Dallas, Texas-based musician plans to put out four pre-album “bundles” that will include tracks from the album as well as previously recorded but unreleased material or acoustic re-workings of tracks from past albums.  Each bundle will be accompanied by new online video content.

Bundle one, entitled North and set for release on June 1, 2018, will include a track from Somewhere South of Sane (“Relief”) as well as a re-recording of 2015’s “The Bullies Are Back” and the devastatingly beautiful “Totally Lost.”

Bundle two, entitled West, is set for release on June 29, 2018.  Included on this release are two tracks that will also appear on Somewhere South of Sane – “Moving Man” and “Going Through The Motions,” as well as a bonus track from the album sessions called “We Were Made to Fall Apart.”  The video accompanying this bundle is a clip for the song “Moving Man,” shot entirely by Nourallah’s 8-year-old and 14-year-old kids.  It will premiere the week of June 25th.

“I took my sweet time making Somewhere South of Sane,” Nourallah says, “so I figured why not continue the trend and methodically enjoy the pre-release months? I also had almost an entire extra album’s worth of tracks I left off because a triple record felt excessive. I will be releasing that bonus material in each of the pre-album bundles we roll out.”

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