Monday, September 23, 2024

TBR: The Book of Losman by K.E. Semmel

TBR [to be read], a semi-regular, invitation-only interview series with authors of newly released/forthcoming, interesting books.

 


Give us your elevator pitch: what’s your book about in 2-3 sentences?

 

THE BOOK OF LOSMAN is about a literary translator in Copenhagen with Tourette Syndrome who becomes involved in a dubious and experimental drug study to retrieve his childhood memories in a tragicomic effort to find a cure for his condition.

 

Which character did you most enjoy creating? Why? And, which character gave you the most trouble, and why?

 

Daniel P. Losman—who goes simply by Losman—was very much a fun character to write. I’ve written 7 completed manuscripts over the past 30 years, five novels and two collections of stories (there were more manuscripts I simply abandoned). Nearly all of those manuscripts contain stories and characters that involve background research. This is especially so with one manuscript, a retelling of Beowulf set in the Southern Tier region of New York State. I spent 10 years writing that book, which is called IN THE COUNTRY OF MONSTROUS CREATURES. To do it properly, I had to read and reread Beowulf, I had to research the process of fracking (which plays an outsize role in the novel), and I had to invest a great deal of time learning more about this region of the state. I am from New York State—I love New York!—but I grew up in the Finger Lakes. There are great differences between these regions. Since I was after a certain degree of verisimilitude, research was necessary.

 

I pitched agents and eventually signed with one who loved the Beowulf retelling. He shopped it around and I got a lot of wonderful responses from major editors and publishers, though all of which were, ultimately, rejections. So I ended up giving up on the novel. Now it’s just a lonely Word doc on my laptop. I mention all this because, with The Book of Losman, I wanted to tell a simpler story, one that didn’t take a decade to finish or force me to spend countless hours doing research. I felt I knew Losman from the start. The two of us share some commonalities. He is a literary translator with Tourette, like me, and because of this his character traits slotted into place rather easily. Also, he lives in Denmark as I once did. Losman is not me, far from it. But because my life experiences are close to his, I didn’t have to do as much research. As a result, I was able to write the first draft in less than two years. 

 

The hardest character for me to write was Losman’s crush, Caroline Jensen. She’s an artist, and a bit of an odd duckling. I had to figure out a way to create her character without resorting to caricature. I didn’t want to write a story with a traditional romance, either, so there’s this awkward tension between them throughout the novel. Balancing that tension took some effort.

 

Tell us a bit about the highs and lows of your book’s road to publication.

 

One interesting tidbit: this book actually started as a memoir. But the writing felt forced, and I limped along, not certain how to go about putting together a memoir. Besides, I kept asking myself, who wants to read a sad story about a boy with Tourette? I sure didn’t. I wanted to write something that contained both sadness and humor but was still entertaining. I’d been chewing on one particular idea for years—What if there was a pill that could return our childhood memories to us?—and it dawned on me that this was the perfect story for that idea. So I pulled one small scene from the memoir, the “truest” scene, and reimagined the entire book as fiction. Once I did that, the flood gates opened and the writing gushed. Fiction has always been my preferred medium. (Though I will add that I published a personal essay in HuffPost that served as all I wanted to say, or would have said, in a memoir.)

 

My agent loved this manuscript too, and he gave me some feedback that I incorporated. The book went out on submission but, like with the Beowulf retelling, I ended up getting only rejections. They were nearly all uniformly praiseful of my writing, but such praise often feels hollow when it’s accompanied by the words “it’s not right for us” or “we hope it finds the right home.”

 

While the book was out on submission, I began writing a middle grade novel. Once it became clear that The Book of Losman was going to suffer the same fate as In the Country of Monstrous Creatures, I made the decision to drop my agent (it was an amicable split; he does not represent middle grade books). I assumed, wrongly, that I would be able land another agent. I still don’t have an agent—and it’s not for lack of trying!

 

But I never stopped believing in The Book of Losman, so I submitted the manuscript to SFWP’s Literary Awards Program two or three years ago. I’ve known the publisher, Andrew Gifford, for years. SFWP published my translation of Simon Fruelund’s collection of stories, Milk, in 2013, and I even published a number of interviews with translators at SFWP’s online literary journal for a few years (“Translator’s Cut,” I called my interview series). Since I playfully incorporate stories and characters (and themes) from Simon’s work in The Book of Losman—the opening chapter is very much a reimagining of Simon’s story “Kramer” from that collection—the manuscript found fertile soil at SFWP. The manuscript didn’t win the contest, in fact it only made the longlist, but Andrew liked the story and decided to take a chance on publishing it. Around the same time, another indie publisher offered me a contract to publish the book, but I knew SFWP was the right choice. This has absolutely proved true.

 

What’s your favorite piece of writing advice?

 

Don’t take rejection personally. Your work can be rejected for many reasons, but you’ve got to keep plugging away, chasing your vision, and getting better. Once you find your stories, good things will happen. It may take 30 years, as it did for me, but if you’re patient and willing to work through all the rejections, you’ll publish your work eventually.

 

My favorite writing advice is “write until something surprises you.” What surprised you in the writing of this book?

 

I don’t write with an outline. I put a character in a situation and see what happens, building the story as I go along. So in this sense, everything that happens is a surprise. It’s this kind of creativity that excites me enough to wake up at 5:00 a.m. to get back to work. It’s not until after the draft is complete that I go back and make sure things connect properly. Sometimes I have to rewrite or remove scenes, but generally speaking, in the first draft, I want to write as though I’m a reader engaging with this story for the first time. Which I am.

 

The biggest thing that surprised me in this particular novel is just how much Simon Fruelund’s work influenced the story. Perhaps it shouldn’t be such a surprise, since I’ve known him for more than fifteen years and I’ve translated three of his books. Simon’s ideas on literature and fiction have also proven hugely important to me. And he’s a friend. The Book of Losman is, in a sense, an homage to his work.

 

Still, even though I deliberately began The Book of Losman with a reimaging from one of his stories, I didn’t quite anticipate that Losman would share certain character affinities with Pelle, say, the main character from Simon’s novel The World and Varvara (published by Spuyten Duyvil in 2023) or that Losman would also be working on a book, like Pelle, with a publisher breathing down his neck. It was only after writing the manuscript that I realized how deep the connection ran. I don’t mind this at all. I love Simon’s books, and I think it’s wonderful that my novel is engaged in a dialogue with them.

 

How did you find the title of your book?

 

The Book of Losman has been the title for as long as I can remember, though I did hem and haw a bit once I realized there were already a lot of books that included “The Book of—” in the title. I debated just calling it Losman. But I couldn’t shake one important thematic significance that would justify me calling it simply Losman. There’s a kind of meta-quality to this novel, right from the opening sentence:

 

“When he moved to Copenhagen with his Danish girlfriend, Kat, fifteen years ago, Losman imagined his life like a Fodor’s guidebook, rich with possibility and adventure.”

 

Simply put: As a character, Losman is a kind of “book” to be read, translated, and understood. The narrative follows a circular pattern that only becomes clear at the end. So, to me, The Book of Losman always had to be the title. I’m happy with it.

 

Inquiring foodies and hungry book clubs want to know: Any food/s associated with your book? (Any recipes I might share?)

 

My favorite Danish pastry makes an appearance: Tebirkes! They are hunks of buttery deliciousness.

 

*****

READ MORE ABOUT THIS AUTHOR: https://kesemmel.com/

 

ORDER THIS BOOK FOR YOUR OWN TBR STACK: https://www.amazon.com/Book-Losman-K-Semmel/dp/1951631374/

 

 

 

 

Tuesday, September 17, 2024

TBR: Blood on the Brain by Esinam Bediako

TBR [to be read], a semi-regular, invitation-only interview series with authors of newly released/forthcoming, interesting books.

 


Give us your elevator pitch: what’s your book about in 2-3 sentences?

 

Akosua, a young Ghanaian American woman, struggles to confront the challenges in her life, including a head injury, a breakup, and the reappearance of her absentee father. She deals with her problems the best way she knows how—by rushing headlong into new ones—until the accumulation of unresolved trauma finally catches up to her.

 

Which character did you most enjoy creating? Why? And, which character gave you the most trouble, and why?

 

Akosua and I have demographics in common—Ghanaian heritage, Detroit origins, suburban upbringing, coming of age in New York City. But most of the decisions Akosua makes are the opposite of what I’d do, for better or worse. She’s outspoken and impulsive; I’m shy and make way too many lists. It was fun to create an alter ego.

 

Akosua's mother challenged me (just as she did Akosua). For a while, all I had was her laugh, "a spooked flock of birds, a flutter of wings escaping to the sky." I had a sense of who she was, but it was hard to translate that onto the page.

 

Tell us a bit about the highs and lows of your book’s road to publication.

 

The novel had been my MFA thesis, and after graduation, I got some encouraging responses from agents but didn't land one. Imposter syndrome plus anxiety about getting a "real" job and paying back my student loans led me away from writing. I gained a truly rewarding career as a teacher and educational writer, but I lost my confidence as a writer.

 

But then (~15 years post-MFA) the pandemic happened. Of course it was terrible and scary and felt like the end of the world; at the same time, during that period, I found my way back to writing. My husband convinced me to revise Blood on the Brain and submit it to Red Hen's Ann Petry Prize, and shockingly, I won the prize, which included publication.

 

What’s your favorite piece of writing advice?

 

To help me combat my anxiety about whether my writing was “good enough” for publication, my therapist said, “Remember the little girl inside you who just loves a good story? Write for her.'"

 

My favorite writing advice is “write until something surprises you.” What surprised you in the writing of this book?

 

This is a story about identity, but initially, I also saw it as a story about a broken father/daughter relationship. As I wrote, I realized that it’s less about Akosua’s father and more about her dynamic with her mother. The final pages surprised me, too—but once I realized what the story is and isn’t about, the end made perfect sense.

 

How do you approach revision?


Teaching high school English helped me appreciate revision as an opportunity to re-see my work through fresh eyes. When students came for one-on-one help, I’d guide them to really dismantle their drafts and put them back together. Then I realized, “Ahh, I don’t take my own advice!” The new novel I'm working on has undergone radical transformations, which is a good thing.

 

Inquiring foodies and hungry book clubs want to know: Any food/s associated with your book? (Any recipes I might share?)

Wisdom’s Fried Tilapia

 

*****

 

READ MORE ABOUT THIS AUTHOR:  www.esinambediako.com

 

ORDER THIS BOOK FOR YOUR OWN TBR STACK: Bookshop

 

Tuesday, September 3, 2024

TBR: Japa & Other Stories by Iheoma Nwachukwu

TBR [to be read], a semi-regular, invitation-only interview series with authors of newly released/forthcoming, interesting books.

 

Give us your elevator pitch: what’s your book about in 2-3 sentences?

 

Japa & Other Stories is about Nigerian immigrants yearning for a self in America, and sometimes in other parts of the world. One character bilocates in the heat of their yearning, another folds himself into a box on a journey to the fulfillment of his deepest desire. Others embark on a treacherous trek across the Sahara Desert trying to find home in foreign cities.

 

Which character did you most enjoy creating? Why?

 

 Ahamefula (in “Japa Boys & Japa Girls”). A character who shows up in two stories, and in one of the stories he appears in different locations at the same time. He is deeply mutilated and frustrating, constantly making bad, humorous decisions. From the POV of a reader, a fantastic companion on the page.

 

And which character gave you the most trouble, and why?

 

Rasaki. The protagonist who travels to Russia in “You Illegals” to watch the World Cup. Throwing a Nigerian character into a landscape I had never visited presented obvious problems of believability. Trying to figure out how he might act in his interactions with Russian culture, and the Russian people was difficult to accomplish. Eventually I read hundreds of blogs written by Nigerians living in Russia, and watched Vlogs by Nigerian immigrants in Russia to become comfortable enough to render this character with the kind of easy intimacy I look for in characters when I read fiction.

 

Which story did you most enjoy writing?

 

To be honest, I enjoyed writing all the stories, though I might be slightly partial to “Japa Girls” in which a character bilocates.

 

Why?

 

I like working out the supernatural in fiction. It’s such an important fabric of my understanding of the world, and also something which I do not fully understand—so it’s always giving. I believe every human being is part-spirit; whether you believe it or not, you’re what you are. The uncanny is a kind of wildness that attacks our sense of order, though we find it infinitely stimulating.

 

And, which story gave you the most trouble, and why?

 

Two stories gave me the most trouble. The frame story, “To You Americans,” and “Spain’s Last Colonial Outposts” where I switch perspectives—third person/ first person plural. Frame stories are by their very nature like matryoshka dolls. A story inside a story. Rhythm inside rhythm. The outside story and the inside one have to be expanding at just the right pace so that, in the end, the story doesn’t tilt. That’s usually difficult to do.

 

Switching narrators in a story can be confusing for the reader. So again, the rhythm has to be weighed right. The switches happening in a way that feels necessary, that makes the reader believe they’ve received a burst of energy and promise.

 

Tell us a bit about the highs and lows of your book’s road to publication.

 

In the three years before I won the Flannery O’Connor, my then-agent tried to sell my collection to several publishers with little success. I entered a few book contests, too. At some point it occurred to me that I needed to rearrange the stories in the collection and write new ones. I had a couple of stories that had been published in stellar journals but didn’t really belong in the book. It took tremendous courage to cut them out. I sought out a unity in the collection. It took about six months to arrange the stories in what I thought was the right order. Then I prayed for success.

 

What’s your favorite piece of writing advice?

 

Without conflict fiction is just a boring rendition of details. Which is another way of saying, your character must yearn for something. Every human being wants something. And to seek is to suffer.

 

My favorite writing advice is “write until something surprises you.” What surprised you in the writing of this book?

 

The incredible amount of research I had to do for each story. For “Urban Gorilla” I had about a hundred pages of research. Images included. I’m a very visual writer.

 

What’s something about your book that you want readers to know?

 

This is serious fiction that also makes you laugh. I appreciate humor in fiction. One of my wrting professors, Elizabeth McCracken used to say, “Don’t be afraid to be funny.”

 

Inquiring foodies and hungry book clubs want to know: Any food/s associated with your book?

 

I drank a mix of hibiscus tea, plus ginger and garlic while writing this book. It improved my eyesight considerably.

 

*****

 

READ MORE ABOUT THIS AUTHOR: https://iheomanwachukwu.com

 

ORDER THIS BOOK FOR YOUR OWN TBR STACK:  https://ugapress.org/book/9780820367279/japa-and-other-stories/

 

READ A STORY FROM THIS BOOK, “Hosanna Japa Town”:  https://oxfordamerican.org/authors/iheoma-nwachukwu

 

 

 

Work-in-Progress

DC-area author Leslie Pietrzyk explores the creative process and all things literary.