Sunday, February 24, 2013

Why I've Never Seen STAR WARS


I have never seen Star Wars.  Or any of the sequels.  Or prequels.

I realize that this makes me something of an oddity.

First off, let me say that I’m sure Star Wars is an excellent movie.  Please don’t write to tell me that I’m crazy or un-American or a bad mother.  I am unquestionably certain that any movie that manages to burrow its way into the popular culture with the tenacity of Star Wars has much to recommend it.
 
I know a few things.  I know about Princess Leia and the hair, about all the robots.  I know James Earl Jones was the “voice” of Darth Vader.  I mix up Yoda and Jabba the Hutt.

In order to explain why I’ve never seen Star Wars, I’m going to have to write for a second about Ronald Reagan.  This is the first (and probably the last) time I will ever do this on my blog.
 
Ronald Reagan’s Strategic Defense Initiative was promptly dubbed “Star Wars” in the press, a fact that apparently irritated him. His Assistant Secretary of Defense Richard Perle was more sanguine, telling colleagues, “Why not? It's a good movie. Besides, the good guys won."

Here’s the thing.  I don’t believe in good guys.

The movies I like to see, the books I like to read, are about real people, who sometimes do good things and sometimes do bad things.  Some of my favorite characters in literature (Soames Forstye, from John Galsworthy’s The Forsyte Saga and A Modern Comedy trilogies) and cinema (Lester Burnham, played by Kevin Spacey in American Beauty) do some very, very bad things.  I still find them lovable.  Why?  Because I get them.  And why is that?  Because I do bad things.  So does Tracy, my best friend of many years, who is as close to being a saint as it is possible for a human being to be.  So does everyone.  People are complicated.  Anytime I read about people who aren’t, I get bored.

Here’s another thing.  Winning.

If you’re one of the good guys in Star Wars, then presumably, you’re trying to win something.  Since I haven’t seen the movies, I can only surmise just what that something is.  Perhaps you are killing bad guys, or saving the world, or maybe even saving the Universe.  That’s wonderful.  I applaud you.

My life, as a person who is sometimes a good guy and sometimes a not-so-good guy, doesn’t look like that.  The challenges of my days include being a good girlfriend to my partner, being a good mother to my adult children, trying to take care of my Alzheimer’s-afflcted mother who thinks I’m after her money, making sure I run every day, making sure I write.  Each evening, the way I know I’ve won is if 1) the people I love still love me back, 2) my Achilles tendons aren’t throbbing, and 3) I’ve got at least two more pages of whatever manuscript I’m working on safely stowed away on my computer.

I don’t know from saving the Universe.  And when I'm reading books or watching movies, I want to learn about people whose challenges, while not identical, bear some sort of resemblance to mine.  Similarly, I'm more attracted to stories in which "winning" is more private--and possibly more ephemeral--than is an intergalactic journey to rid the world of evil.

Just in case you think I’ve never even tried to like a movie about good guys winning, I will let it be known that early in our relationship, Robert took me to see 300, and after ten minutes, I rested my head against the wall of the Orinda Theater and fell asleep.  I snored So Loudly that he had to wake me up, for fear I would distract the other moviegoers.

If I were going to have given the good-guys-winning genre a fair shot, I probably should have started with Star Wars.  But I already had a 30-year record of not watching it under my belt, and I just couldn't convince myself to break it.

Sunday, February 17, 2013

On Writing and Pound Cake


Today, I’ve been struggling with the middle-grade novel I’m working on.  And then I remembered the pound cake.

This morning, I decided I was craving pound cake and I would expire if I didn’t get some.  But since I don’t eat wheat, it’s not as simple as driving up to the store and pulling an Entenmann’s off the shelves.

Still.   I had everything I needed: the best gluten-free flour on the planet (Gluten-Free Klippy’s: http://glutenfreeklippys.com), eggs, butter, milk, vanilla.  After a walk on the beach, I set about gratifying my obsession.
 
Within an hour and a half, I was pulling a beautiful—if decidedly homemade-looking—pound cake out of my oven.  This is what it looked like:


Okay, I can’t show you what it looked like, because I can’t figure out how to get the picture off of my phone.  But take my word for it: it was beautiful, with a lovely, buttery, brown top.  My kitchen smelled delectable.

The recipe’s final instruction was “Cool ten minutes; remove from pan.”

I couldn’t cool ten minutes.

I couldn’t cool two.

As it turned out, cooling ten minutes may have been the most important instruction of all.

Suffice it to say, the pound cake was not ready to leave the safety of its womb-like loaf pan.  It ended up in pieces all over the kitchen floor.  I didn’t cry, but only because I was too hungry (which somehow reminds me of when I asked my Lamaze instructor if I would pass out while I was in labor, and she said, “No, you’ll be in too much pain.”)

I didn’t cry, but I was disappointed.

Several hours later, here I sit, stewing over this manuscript, worrying that I haven’t described something properly, or that I haven’t created enough tension on page 67.

And then I remembered the pound cake.

And suddenly, I knew with epiphanic certainty that the best thing I could do for this manuscript is to let it cool.  

Monday, February 11, 2013

You're Not the Boss of Me


One of the things I love about being a writer is the fact that I make major work decisions alone.  I decide what I am going to write about.  I don’t have a boss sending me memos with subject lines like “Suggestions for Next Project.”

Given this, it’s easy to forget that other people besides me are involved in the production of books.

For the past few months, I’ve been writing a middle-grade fantasy novel.  This is something entirely new for me, a self-imposed challenge I was anxious to take up.  I found myself uninspired by the things that usually interest me: contemporary kids, real-life problems, small lives examined and laid bare.  Fantasy—a genre I enjoyed as a kid—beckoned.

So far, I’ve been enjoying the work.  I’ve been reading a lot of contemporary fantasy and writing every day.

Recently I learned that the story I’m writing belongs to a sub-genre of fiction called “portal fantasy,” which means that characters are able to pass from the real world into the fantasy world.  Think Narnia.  Think Oz.  As a child, I was enchanted with the notion that there were secret doorways allowing entry to a hidden world.

I also learned that publishers aren’t buying portal fantasy.  I learned this from a post called “Portal Fantasies and Cycles of Desire,” featured on the weblog MAKING LIGHT, written by Teresa and Patrick Nielsen Hayden, both editors of fantasy and science fiction at Tor Books.  Here’s the post:


This makes me fucking bananas.  (Sorry.  I try not to swear on this blog, because I know sometimes children read it.  But come onI mean, come on.)

Never mind the fact that so many of the best fantasy novels of all time involve passage into another world.  (ALICE IN WONDERLAND?  Hello-o-o?)  Never mind that the most transformative children’s book of the last several decades focuses on a character who learns that he is a wizard living in a muggle world.  Never mind that, as my friend Molly Joss, publishing industry analyst and author of several non-fiction books (www.thejossgroup.com) asks rhetorically, “In fact, isn't reading fiction, all fiction, falling through a portal into another world?

I think the Nielsen Haydens have it right, and in time, the tides will shift, and publishers will want to buy portal fiction again.

In the meantime, I’m going to keep writing. And not because my fabulous agent, Jennifer Laughran, read forty pages and said she liked it and to keep going.

I’m going to soldier on because if I were to give up, then I’d be allowing somebody else to tell me what I can and cannot write.  I’d be trying to write to the market, which I think doesn’t make for very good books, and which I also think is odious on principle.

I write what interests me, what excites me, what makes for the kind of story I like to read.   I think that means I suck at marketing myself.  (And as an aside, if I hear one more writer talk about “branding” herself, I’m going to gouge out my eyes with a fork.)    But I’m okay with that.

I’d love to hear from other writers, editors, people who buy books, and children who read them.  What do you think about all this?

Monday, January 14, 2013

Loneliness



Yesterday, I left Robert to watch football in blissful silence (i.e., without having to listen to me natter on about sports-related head injuries) and drove up to San Francisco to spend some time at the Contemporary Jewish Museum.  I love this museum a lot: it’s small and the exhibits are beautifully curated and the whole space feels sacred to me.
 
There was a wonderful photography collection by the New York Photo League.  But what really packed a wallop was the exhibit detailing the work of the artist and children’s book author and illustrator Ezra Jack Keats (THE SNOWY DAY, among others).  As someone who has never been particularly interested in picture books, I had read his books but never given them much thought.  Seeing his work as art on a wall (rather than illustrations in a book) made it come alive, though.  His aggressive use of color to give life to small moments moved me, as did his masterful use of collage.

He was a child who received almost no support for his art at home.  (His parents, emotionally distant and brutally poor, worried that art would not allow him to make a proper living.)  He was small.  He was teased and bullied mercilessly at school and in his neighborhood.  And he described himself (according to the exhibit’s notes) as lonely.

There is something about loneliness.

Most people understand that there is a difference between loneliness and being alone.  I love to be alone.  I work alone, I run alone, I gave up an afternoon of cozy football-watching with my partner to go to a museum alone.  I often choose to be alone because I can, in fact, choose

Loneliness is not a choice.  Loneliness is an unlit hole, a dreadful, black emptiness.
 
I have been lonely.  Not for long, but even in short bursts, it is terrible.  It is a feeling that no one can hear you, that you are screaming and no one notices. 

Something about Keats’s art—its bigness, its loudness, its brightness, its joy—seems to be his way of screaming, I am here!  See me!  Know me!  And because, by all accounts, he was a lovely, talented, honorable, thoroughly engaging man, it is a pleasure to do so.

But I couldn’t help thinking about all the other lonely people—most especially, children—who haven’t yet found a way to be heard.  There is a lot of screaming out there, and it is so easy and so terrible not to hear it.

I left the museum and sat outside on a bench.  It was very cold for San Francisco—I was wearing a winter coat and gloves—but sunny and clear and windless.  I watched some strutting pigeons and two older ladies having a chilly picnic.  I thought how nice it was to know that Ezra Jack Keats and his editor puzzled over whether to call his book THE SNOWY DAY or A SNOWY DAY (because I can spend hours wondering about just this kind of thing).   I thought about the art I had seen and the book I am writing and the large, shapeless crowd of twentysomethings waiting to get into St. Patrick Church.  I wondered if any of them was screaming. 
And then, happily, Tracy arrived—my dear friend Tracy who is only one of the reasons I am so very, very lucky—and we went to lunch.

On Beauty Pageants and Sports and Mothers


So let's talk about Honey Boo Boo.

The youngster in question is Alana Thompson, also known as Honey Boo Boo, star of TLC’s “Here Comes Honey Boo Boo,” a reality show that allows viewers a peek into the lives of Alana and her lovable, rough-and-tumble family.   The show is a huge hit, despite being lambasted and derided by the press, which has struggled to explain its strange appeal.  Having made a name for herself as a beauty-pageant contestant on “Toddlers & Tiaras,” Alana does not, at first blush, seem to be the kind of kid Americans usually embrace.  She’s no Suri Cruise.  So what accounts for her show’s persistent popularity?
 
Certainly little-girl beauty pageants—a $5 billion industry—have been much in the public consciousness of late.  With the movie “Little Miss Sunshine” and a slew of TV reality shows, people seem to be fascinated with the whole notion of pageants and the way in which ordinary-looking little girls are poked and prodded, primped, slathered, festooned, painted, sprayed, and spackled into odd-looking simulations of adult women, only without the breasts.  I count myself among those who, coming upon “Little Miss Perfect” one morning when I was home in bed with the flu, was unable to look away.
 
Why is that?

Part of it has to do with the transformations of the little girls, which is startling, to say the least.  People love makeovers, after all: they love the idea that something pedestrian can be transformed into something shimmering and new and barely recognizable.  Perhaps we even like to imagine what a sparkly dress, Plasticine hair, fake white teeth (called “flippers” for the pre-adolescent set who are missing their baby teeth), and makeup garishly applied might do for us.  Haven’t we all fantasized that with knowledgeable assistance and just the right accessories, we might be coaxed into an approximation of Audrey Hepburn?  (Or is that just me?)

But of course, it’s more than that.  The TV shows in particular have found a way to allow viewers (who are often mothers) to indulge in a cherished pastime: criticizing other mothers.  The mothers of little girls who compete in pageants are easy to hate.  Often, they are shown yelling at their daughters, exhorting them to smile, make eye contact with judges, twirl prettily, pay attention, stop crying, be quiet, hush up.  They promise disingenuously that if their little girls can’t behave properly, they’ll just pack up the suitcases and go home.  They critique their children’s imperfections with withering contempt.  (“She’s just so clumsy!”)  They pump them full of candy and soda and so-called “energy drinks” to insure an energetic performance onstage.
 
And then, there’s the aspect of all this that we don’t say out loud: Many of these women live in modest houses, often in small towns, often in the south.  They speak ungrammatically, with accents.  And—heaven forbid—some of them are fat. 

In short, they are just the kind of people that more affluent, educated suburbanites can feel good about hating.  Because they are different.  Because they aren’t like us.  Because we would never do what they do.

Is this true?
 
I raised my children in a Bay Area suburb where it was (and is) de rigueur for kids to begin their athletic careers at the age of four, on the soccer field.  Because I worried that my quiet, sedentary son might be left out socially if he didn’t participate, I signed him up.  I then spent the next four months watching a pack of kids swarm across a field without the slightest sense of what they were doing, let alone where the ball was.  (Half the time, I couldn’t even see Evan.  Usually, he was at the wrong end of the field, looking for bugs in the grass.)  All the while, well-heeled parents shouted encouragement from the sidelines.  Sometimes it sounded encouraging.  Sometimes it sounded like the kind of rage that would get you escorted out of a professional hockey game.

My son played soccer for almost ten years, and volleyball throughout high school and college.  During that time, I saw a lot of ugliness, as well as out-and-out emotional brutality: parents who lobbied coaches to make sure their superstar didn’t have to be on a team with a kid who was slow or uncoordinated; coaches who tried to get parents to discourage their kids from playing because “they’ll never be any good anyway”; kids who refused to sit next to a teammate who allowed a goal or screwed up a corner kick.  At a volleyball game, I heard parents (who lived in the next town) laughing about how their kids were beating ours because their town was “richer.”  During my son’s single, ill-fated Little League season, I saw an assistant coach put his arm over his son’s shoulders after the kid had pitched a near-perfect game and the other team had won anyway.  I drew closer, hoping to eavesdrop on a sweet father-son moment.  “What the hell’s the matter with you?” the father was whispering.  “What the fuck were you doing out there?”  The kid was crying.  He was nine years old.

And don’t get me started on my daughter’s experiences with gymnastics. 

It’s easy to think that allowing my kids to participate in hometown sports is nothing like allowing little girls to dress up in ball gowns and wink and blow kisses at strange men with clipboards.  After all, sports are about learning rules, fostering camaraderie, becoming team players, building healthy bodies.  They are about developing competencies, whereas beauty pageants are about being judged for what you look like, which has nothing to do with competence and everything to do with the luck of the draw.

Right?

Maybe not.  David Elkind certainly doesn’t think so.  A professor emeritus at Tufts University and author of The Hurried Child, The Power of Play, and All Grown Up and No Place to Go, Elkind believes that modern-day parenting has stressed children to the breaking point, depriving them of the childhoods necessary for appropriate development.  “The pressure to grow up fast, to achieve early in the area of sports, academics, and social interaction, is very great in middle-class America,” he writes in 1981’s groundbreaking The Hurried Child.  “There is no room today for the ‘late bloomers,’ the children who come into their own later in life rather than earlier.”
 
Consider this excerpt from sports writer John Underwood, cited by Elkind:

Sports-psychologist Bruce Ogelvie laments the sickening arrogance of Little League coaches, too many of whom are unqualified.  Some coaches, says another psychologist, Thomas Tatlio, even “think sports is war.”  They make eight-year-olds sit on the bench while others play, learning nothing beyond the elitism of win-at-all-costs sport.  Token participation—an inning in right field, a couple of minutes in the fourth quarter—can be equally demoralizing.
To visit on small heads the pressure to win… is indecent.  To dress children up like pros in costly outfits is ridiculous.  In so doing, we take away many of the qualities that competitive sports are designed to give to the growing process.

Elkind goes on to say, “Generally it is parent need, not a child’s authentic wish, that pushes children into team sports at an early age.”

And suddenly, the affluent suburban parents who laud their children’s talents on the tennis team begin to bear an eerie resemblance to Honey Boo Boo’s mother, June Shannon, who likes to “scratch her bugs” and is happy to provide her little pageant queen with the “go-go juice” she needs to show herself to best advantage.

My point is not to denigrate the hallowed, untouchable institution of sports in America.  Nor is it to instill guilt into the hearts of already beleaguered parents who adore their children and want nothing more than to do right by them.
 
My point is that our demonization of the mothers of child pageant contestants bears examination.  When we laugh at them, or say we’re nothing like them, or roll our eyes at the way they have forced their children to become miniature adults, we’re not being completely honest.  Perhaps we are using these women to avoid seeing ourselves as we really are.

There are plenty of things not to like about child beauty pageants:  the emphasis on appearance, the sexualization of little girls, the horrific insistence on "practicing" and rehearsing routines performed by children who are barely old enough to flush a toilet or button a shirt, the unbridled competitiveness, the weird way that social class factors into it all.   A small study conducted by the University of Minnesota’s Anna L. Wonderlich, Diann M. Ackard, and Judith B. Henderson found that adult women who had competed in beauty pageants as children scored higher on body dissatisfaction, interpersonal distrust, and impulse dysregulation than non-participants, and showed a trend toward greater ineffectiveness.

But let’s not kid ourselves.  June Shannon loves her little girl, just as you love yours and I love mine.  The problem is that somehow, we’ve all been coerced into believing that we must teach our very young children about competitiveness and winning.

Sports exert such a hold on the modern imagination that we have turned any number of activities into them.  Dance is no longer an art form: children are now on dance teams.  The same can be said of chess, martial arts, a cappella singing, and a host of other activities that used to be pursued for reasons other than the desire to be better at them than other people.  One might argue that little-girl pageants take this idea to its logical, if ludicrous, conclusion.   Now, you can win a trophy for being the best smiler and winker.  We have, at long last, made winning available to all.

And that, I think, is the crux of the whole thing.  The little girls who win the Ultimate Grand Supreme titles (an exercise in hyperbole if ever there was one) aren’t really very good at anything.  But pageants allow anyone with the money to spend to compete on an even playing field.  That is what twenty-first-century America teaches its citizens.  And that is what twenty-first century mothers teach their children.

Wednesday, December 5, 2012

Unfollowed and Defriended


Someone unfollowed me on Twitter today.  And because not that many people are following me there, I know who it was.

It surprised me when she began following me, to be honest.  She didn’t seem to have any connection to writing or books, and I didn’t know her personally.  She has been on the Council of Economic Advisors.  I was like, What the hell?  I assumed she had a kid who had read one of my books.

And then today, when I went on Twitter, I was down one follower.  And I figured out that she was the one.

Is it weird that this kind of depresses me?

Since having joined Facebook in 2009, I’ve been defriended by three people.  I know who two of them are.  One of them didn’t like my politics, and the other one was someone I’d known well at another time in my life.   I think she’s troubled.  Or maybe I bored her.

When you’re a writer, you get used to rejection.  It’s not a way of life, exactly, but it is definitely part of your everyday experience.  When an editor rejects one of my manuscripts, I read the note very quickly, and then I either 1) eat something, 2) swear and eat something, or 3) stand up, stretch, and let my eyes scan the bookshelves in my office, which is my way of reminding myself that I am a person who writes books, and even if I never sell another one, no one can take that away from me.  Then I go eat something.  And then I move on.

But being rejected via social media is different.  It’s a little more personal, because at one time someone wanted to follow you or be your friend.  And then you said something, and suddenly that person was like, What was I thinking?  Poof, it’s over, and you didn’t even get a chance to defend yourself or say I’m sorry.  It’s like a bad breakup with a really passive-aggressive asshole.

What did I say that upset the Economic Advisor lady?  I tweeted about how I love my boyfriend but hate watching “Ancient Aliens.”  And about how I get depressed when I know we’re having fish for dinner.   Are these clues?  Does Economic Advisor believe that Jesus was an alien?  Does she really, really love tilapia?

I will never know.

Monday, November 5, 2012

Birthdays, Book and Otherwise


Tomorrow is the day PRETTIEST DOLL goes on sale at bookstores and online.  It’s called a book birthday, which is reminding me of other, different kinds of birthdays.

My son was born on December 28.  I was in labor for at least 36 hours, after being told by a chatty sonogram technician on Christmas morning, “Boy, that kid’s got a big head.”  In those days, it was unusual to know the sex of the baby, so my husband and I were in the dark on that score.  Also in those days, they gave you Demerol.  It was fantastic.

When he was born (9 pounds, 2 ounces, 22 inches long, at 7:20 pm), I became almost instantly ecstatic in a completely new way.  It wasn’t just his birthday that day.  In an instant, I became a different person.

My daughter was born three and a half years later.  The delivery was harder, owing to egregious medical nincompoopery.  She was born on her due date—June 3, 10:20 am—and her gender was also a surprise.   I didn’t experience ecstasy right away (owing to the idiots who delivered her), but two days later, there it was again.  She was 7 pounds, 1 ounce and 21 inches long: a perfect little peanut of a girl.

I love all the books I’ve written, and I’m proud of each of them.  I hope lots of people buy PRETTIEST DOLL, and I hope it resonates with them, makes them laugh, makes them think and feel and wonder.

But when somebody says, Having your book published is like having a baby, my first thought is always, No, it isn’t.

It isn’t anything like that at all.