Archive by Author

Fall Classes at Hugo House

27 Jul

Hugo House’s fall course catalog is now available. I’m teaching three classes, listed below. Scholarships are available and applications are due August 24. Hope to see you around Hugo House soon!

I’m also happy to offer writing coaching. If you’re interested, email me at anca (dot) l (dot) szilagyi (at) gmail (dot) com, and tell me what you’re working on and what kind of coaching you are looking for, and we’ll go from there.

Women in Translation Bingo

26 Jun

The Seattle Public Library and Seattle Arts & Lectures launched Summer Book Bingo in Seattle this month. I got all excited, printing out my card and jotting a book in each category I want to read, for example:

Checked out from the library: The Woman Upstairs by Claire Messud

Collection of short stories: The UnAmericans by Molly Antopol

Banned: Fun Home by Alison Bechdel

There are 24 categories in all. Librarians are on hand to make recommendations. Thanks to them, I’ve added V is for Vendetta and Eleanor and Park to my reading list!

Because of my already ambitious reading plans for the summer, including Women in Translation Month, I’m not aiming for a blackout, just BINGO. But it occurred to me. Book Bingo is endlessly adaptable. What about Women in Translation Bingo? Each category satisfied by a book in translation, by a woman.

I made my own card, based on SPL & SAL’s card, simply swapping out Set in the NW, Translated from another language, and local author for Author 10+ years older than you, From a culture you want to know more about, and International bestseller. Then I really nerded out, thinking about Linguistic Diversity Bingo, based on language families. But, I’m getting ahead of myself. One Book Bingo at a time.

If you’re planning to participate in Women in Translation Month (I hope you are!) this would be a fun way to do it.

What books are you reading this summer?

BINGO!

BINGO!

Women in Translation

25 Jun

August is Women in Translation Month (WITMonth), designed to encourage readers, reviewers, publishers, and translators to explore more books in translation by women. If you’ve been following the VIDA count, then the grim statistics around women in translation (gathered diligently by Meytal Radzinski) is, unfortunately, not a surprise: women writers comprise only about 30% of books translated into English. As I’m passionate about cultivating a diverse literary ecosystem, this is a project near and dear to my heart. And though I’m happy WITMonth is an annual event, I’m getting started right now. Because there are SO MANY good books and I’m sure there are SO MANY MORE out there waiting to be picked up by a publisher and gobbled by readers.

I immediately pulled all the books from my shelves that fit the bill. I made a read pile and a to-be-read pile. Of the read pile, I’d like to make some recommendations, for those of you who’d like to join me in WITMonth. Read these books! And I’ll be diving into the to-be-read pile and writing about the gems in that pile in August. Read those books too! Let’s talk about ’em!

Recommended Books

Tasty pile of books in translation

Tasty pile of books in translation.

Death in Spring by Mercè Rodoreda, translated from Catalan by Martha Tennent (Open Letter, 2009). A gorgeously written and harrowing novel about cruelty among humans and violence in nature.

Days of Abandonment by Elena Ferrante, translated from Italian by Ann Goldstein (Europa Editions, 2005). A dark, slender novel about a woman abandoned by her husband spiraling into terrifying psychological territory, with a helpful dash of absurd humor and redemption. After devouring this book, anything else was VERY difficult to get into. So good. This brief review in The New Yorker is spot on. I have not cracked open her more recent Neapolitan series, but it is definitely on the docket.

The End of the Story by Liliana Heker, translated from Spanish by Andrea G. Labinger (Biblioasis, 2012). Another dark novel. I’m sensing a trend? This metafictional work explores Argentina’s Dirty War. I reviewed it for Ploughshares.

Death as a Side Effect by Ana Maria Shua, translated from Spanish by Andrea G. Labinger (University of Nebraska Press, 2010). As I note briefly in my review of Heker’s novel, Shua‘s is “dark and wry and screwed up in the best possible dystopian way.” Is it weird to quote myself? Oh well.

Dreams and Stones by Magdalena Tulli, translated from Polish by Bill Johnston (Archipelago Books, 2004). I adore Archipelago for focusing on translation and producing truly beautiful books. Dreams and Stones is probably the least dark book on my list, a kind of treatise on cities and imagination.

Mile End by Lise Tremblay, translated from French by Gail Scott (Talon Books, 2002). I read this novel a few times, starting in a class in college on literary Montreal. It’s set in the neighborhood I lived in while at McGill, which may be part of my attachment to it. And, yes, yes, this is another dark story, about an obese pianist at a ballet school teetering toward psychosis.

The Land of Green Plums by Herta Muller, translated from German by Michael Hoffman (Metropolitan Books, 1996). Muller, winner of the 2009 Nobel Prize in literature, paints a grim picture of life in Romania under Ceausescu. The language is highly poetic, and I’ve been working on an essay about it (among other things) for quite some time. In fact, the assignment I’ve given myself for the next few weeks is to cut that essay up paragraph by paragraph to figure out how to keep going with it.

Why the Child is Cooking in the Polenta by Aglaja Veteranyi, translated from German by Vincent Kling (Dalkey Archive Press, 2012). Told from the point of view of an unnamed young woman, this is the story of Romanian refugees who travel through Europe as circus performers. Yes, yes, dark. But also with absurd humor. (Some criticize Muller for being humorless. I say, bah. Read her still. Not everything is funny ha ha.)

Phew. That’s a lot of recommendations. There are more in my pile. I may write more about them. More likely I will tweet my favorite bits from them in August. But not just August. Probably all year. WITForever!

My To-Be-Read Pile. Stay tuned for reviews & more !

Another tasty pile of translated books.

Another tasty pile of translated books.

Eight Million New Yorks, Thirteen Million Tokyos

22 Jun

716I like big cities and I cannot lie. They’ve fascinated me for a long time. Spike Lee, Woody Allen, Lena Dunham, John Dos Passos, F. Scott Fitzgerald, Sapphire, and Betty Smith all have wildly different visions of New York City. Sometimes I feel apologetic for writing about New York, because of some perception that most writing about New York is stereotypical and/or because New York stories dominate the landscape and are therefore overdone.

But, having grown up in Brooklyn, it is impossible for me not to write about it. And, as with any piece of writing, of course, the deeper you dig into something, the more you unpack a city or character’s complexities, the farther away you get from tired old narratives. Write the story only you can write, advice I picked up at the Tin House Writers Conference, has been enormously valuable to me in moving forward with stories and novels and embracing my own peculiar vision. New York is the city I know best and the one I can endlessly burrow into.

New York is not, however, the only city that fascinates me, whose identity offers multitudes. I fell head over heels in love with Tokyo and can’t wait to get back there one day to walk its ancient alleys and zoom by its blinking towers. Reading 1Q84 after experiencing Tokyo made palpable the dreamy and unsettling alternate universes cities offer.

Working on my first novel, I swam in a pile of books set in Buenos Aires. Fiction, memoir, reportage, poems. Anything I could get my hands on, starting with Borges. Then I was fortunate enough to take the leap and visit. That city’s mix of architectural traditions (Spanish, English, French) creates the strange sensation of being in South America and Europe simultaneously. And the simultaneity feels more real because of my different encounters with the city through literature.

Chicago is a place close to my heart, but whose literature I’m less steeped in. I love how the El downtown feels like a mash up of the outer boroughs of New York with stately old Chicago buildings. I know Saul Bellow writes Chicago, and he’s been on my to-read list for quite some time, but I’m wondering about all the literary versions of Chicago. Other than say, Upton Sinclair’s The Jungle, also in my to-read pile.

I’m wondering, too, about the literary versions of Seattle. Truth Like the Sun, Where’d You Go Bernadette, and Blueprints from the Afterlife have been in my to-read pile for some time. Now that I’ve lived in Seattle for over five years, I may find myself writing about it too. That is, after I get through novels two and three. One day.

What are your favorite writers who have particular visions for the cities they write?

Minnow by James E. McTeer II

10 Jun

Jacket-123x185For The Los Angeles Review, I wrote about the debut fabulist novel Minnow, winner of the 2014 South Carolina First Novel Prize and published by Hub City Press. Here’s how the review begins:

Landscape reigns in Minnow, the fabulist debut novel by James McTeer II. Set in South Carolina Lowcountry, the story follows a small boy, Minnow, on his quest to find medicine for his dying father. A pharmacist sends him to a witch doctor who in turn sends the boy off on an impossible journey. In exchange for Dr. Crow’s medicine, he must penetrate wild marshlands, swamps, and pine jungles in search of the grave of Sorry George—a witch doctor who once cursed fifty-two men with a fatal, grisly fever, and “[e]ach one of them coughed up some bloody thing, like a little thing that might have been alive once.”

continue reading

Audio Excerpt from Paralegal

17 May

Jack Straw logoFriday’s reading at Jack Straw was utterly lovely. Matthew Schnirman read poems brimming with desire and loss, such as “American Shot” :“When I remove my clothes, I want the wood floor to blush.” L.J. Morin read from her fascinating series about the lost language of the Atures, discovered by Alexander von Humboldt on his journey to Venezuela in 1800, his desire to catalogue and measure characterized as “a mine shaft down the middle of him, an inexhaustible need.”  Linda Andrews, who won the Washington State Book Award for Escape of the Bird Womenread a fabulous story about a strutting hen: “Any female with that authority would feel ready for the world. Go on. Fold your wings back and see if the body doesn’t tell you something. CUTO an old friend called it. C-U-T-O. Chin up, tits out.” And I read an excerpt from my novel-in-progress, Paralegal, introducing the protagonist Binnie Greenson’s parents, Albert and Arlene, in their Ocean Parkway co-op in Kensington, Brooklyn. I took particular pleasure enunciating the phrase “glops of rummy yam” and the word “trapezoidal.” 

We, along with the rest of the Jack Straw fellows, all have work in the 2015 anthology, available at our readings all year, which will be at Folk Life on May 24, and at the the University Bookstore, the Seattle Public Library, and elsewhere in the fall. Kevin Craft, the 2015 curator, did such a fantastic job grouping each of the readings and introducing each of the readers.

I was really happy with how my reading and its recording turned out. The voice coaching from Christine Brown and performance coaching from Elizabeth Austen were both excellent and super helpful. I’ve uploaded my reading to soundcloud. Podcasts from everyone’s author interviews (conducted by Kevin Craft) with excerpts from our readings will be released in the fall here.

Without further ado, an excerpt from my novel-in-progress, Paralegal:

Jack Straw May Reading Series

21 Apr

The Jack Straw  May Reading Series kicks off on May 1! I’m so excited to see my fellow fellows sharing new work and putting our voice and performance coaching into action. Each Friday evening at 7 pm, four writers (one prose writer and three poets) will perform their work. A suggested donation of $5 gets you a copy of the 2015 Jack Straw Anthology; a light reception will follow.

2015-readings-postcard

Notes from #AWP15 in Minneapolis

13 Apr
Milwaukie Ave

Historic Milwaukie Avenue in Seward, Minneapolis. The first row houses outside of NYC, built by the railroads as worker housing.

This year, AWP has been schmoozier, in a pleasant way, as I spent more time with readings, receptions, and lunch/coffee/dinner dates and less time with panels and the book fair. We took a break from the conference Friday night to see Mr. Burns at the Gutherie Theater, an apocalyptic play spanning from the near future to 75 years into the future, in which the surviving population tries to retell and recreate episodes from The Simpsons (particularly the “Cape Fear” episode) as a way of coping. Over time, The Simpsons evolves into totally weird, wonderful, and scary mythology. I highly recommend it!

The two panels I attended were excellent, and I’m posting my notes right over here:

Small is the New Big: Working with Independent Presses to Build a Literary Career

Moderator: Michelle Brower, agent at Folio Literary Management

Panelists: Molly Fuller, Production Editor of Coffee House Press; Ethan Nosowsky, Editorial Director of Graywolf Press; Erin Harris, agent at Folio Literary Management; and Cal Morgan, Executive Editor of Harper and Editorial Director of Harper Perennial.

  • Access to early and frequent publication (such as online) has allowed an enormous amount of creativity. Adventurous small presses are publishing successful works, and big houses are discovering writers earlier as a result.   -Cal Morgan
  • Small presses take on books that might not seem readily marketable from a big publisher’s perspective, but can maximize those books’ audiences.                    -Ethan Nosowsky
  • Small presses can facilitate reviews that build the writer’s readership.     -Erin Harris
  • The reputation and backlist of a small press have cultural capital.                           -Molly Fuller
  • Small presses are also an opportunity for seasoned authors to try something new. -Michelle Brower
  • Many authors who work with both small and big presses are big supporters of new writers and facilitate connections.                               -Cal Morgan
  • It was a relief to hear all the panelists are avid readers of small press books!

Examples of successes:

  • Eiomear McBride’s A Girl is a Half-Formed Thing, published by Coffee House after the author spent 10 years trying to get it published and being told the publishers loved it but thought readers wouldn’t enjoy it. You may already know the book is enormously successful. 
  • Erin Harris found short story writer Stacy Tintocalis after reading her collection The Tiki King, published by Swallow Press, an imprint of Ohio University Press, and discovered Brian Furuness, author of The Lost Episodes of Revie Bryson (Dzanc) after reading two of his stories in literary magazines.
  • Graywolf Press published a 20-year retrospective of Geoff Dyer’s essays and was able to do so  successfully based on its backlist of essay collections.
  • Cal Morgan discovered Blake Butler after publishing his short stories in the blog Fifty-Two Stories; he went on to publish three books from Butler, and Butler connected him to more authors.

It’s a Crime to Skip this Panel: Approaches to Crime Fiction

(Nb. The authors on this panel have multiple books out–see the link above for a more expansive list.)

Moderator: Michael Kardos, author of Before He Finds Her.

Panelists: Joy Castro, author of Hell or High Water; Chris Abani, author of Secret History of Las Vegas; Christopher Coake, author of You Came Back; Lori Rader-Day, author of The Black Hour.

  • Much of great literature (Beloved, The Great Gatsby) spins around a crime. -Michael Kardos
  • Joy Castro explores the chasm between the ideal of legal justice and its reality. She asks: whose law? To control whose bodies is the law written? Who is permitted to get away with crime? Who isn’t? How does the aftermath manifest?
  • The best suspense comes from characters: embed them with contradictions and set them loose. Don’t choose a main character who knows everything.    -Joy Castro
  • Misdirections and clues should all arise from point of view: different characters will pick up on different things. -Lori Rader-Day
  • Think of pacing as interval training, alternating between intense, fast-paced, action-packed scenes and more quiet, emotional scenes. -Joy Castro
  • Every story is a riddle. Stories trace an outline for the riddle of living. We don’t care about characters who are not fucked up.       -Chris Abani
  • Good art sets out to do something and does it. That’s all there is. There are no genres. -Chris Abani
  • Finding the voice of the novel is key to finding the novel. -Joy Castro
  • Structure is the skeleton of a book. Voice is its soul, its reason for existence. -Chris Abani
  • If you’re a surgeon and remove the wrong kidney, that’s bad. You have so many opportunities to get your book right.                             -Michael Kardos

On research:

  • Read two books then close your eyes. -Christopher Coake
  • Write the book before you do research, then research what you need to know. -Lori Rader-Day
  • Research a lot then forget it. Don’t write with your notes open; the divine details will come to you. -Joy Castro (My preferred approach…I love research and tend to pick stories that require it.)
  • The only question you need is “Why?” -Chris Abani

Book Fair Loot!

I sprinted through the book fair in the last 45 minutes on Saturday. I managed to get something from every genre, as well something from every “genre” of book fair stuff: freebies, cheapies, full price-ys, a notepad, bookmarks, and even an adorable pinwheel from Pacifica Literary Review, fashioned from pages of poetry.

I’m also happy to discover that Twitter *can* work for authors. Shulem Deem, author of the memoir All Who Go Do Not Return (Graywolf Press) followed me on Twitter several months ago; I was intrigued by the premise of his memoir, which is about leaving the Hasidic Jewish community; and his was the first book I bought at the fair. Can’t wait to read it.

See you in L.A. in 2016!

bookfairloot

What Makes a Story “Chekhovian”?

3 Apr

I’m really looking forward to teaching a new short story class at Hugo House about Anton Chekhov and his influence on modern short story writing. So many craft techniques in wide use today originated from Chekhov, and I learned a lot deeply engaging with his stories. In fact, my story “Old Boyfriends” started out as an imitation of the structure and themes in “Gusev“. In addition to reading iconic stories from Chekhov, we’ll read Mavis Gallant and Jhumpa Lahiri and Ehud Havazelet, and try our hands at a range of techniques. Here’s a micro-lesson preview of the class. I hope to see there, Mondays 7-9 pm, starting April 27!

Grand Plans for AWP 2015 in Minneapolis, Minnesota

24 Mar

Every year around this time, my post on finding a literary agent at AWP gets more hits. And thus I’m reminded that I will be attending the conference again. I love the Twin Cities, and Mike and I are doubling up with a visit to his dad, so my approach will be considerably chill. I probably won’t have time to visit the Walker Art Center, one of my favorite museums (in the world?), but my chief goals include: multiple visits to Cecil’s Deli for Jewish food and a fleeting drive-by glimpse of the Paisley Palace. The Minnesota Center for Book Arts is also well worth another visit.

Blintzes, books, and Prince–what could be better?

I do have some literary events:

  • Thursday night at 8:15 pm at The Nicollet, I’m reading at Literary Wilderness, a benefit for prison writing programs around the country. The theme is is WILDERNESS, so be prepared!
  • Saturday afternoon, 3-5 pm at Boneshaker Books, I’m reading with the Cambridge Writers’ Workshop, which accepted a batch of my writing prompts into their CREDO Anthology.

And a number of panels caught my eye:

Thursday

Friday

Saturday

For last year’s book fair, I had a laser beam focus on small presses to submit my first novel to. This year, I don’t have that particular laser beam, or any particular laser beam. I’m sure I’ll come home with an unwieldy pile of books and I’m sure I’ll pile up their spines in a picture, right here, just for you.

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