New Books in Literature

Porochista Khakpour moved to an apartment with large picture windows in downtown Manhattan shortly before September 11, 2001, giving her a painfully perfect view of the terrorist attacks. “The big event of my life was of course 9/11,” Khakpour says. “I experienced a lot of post traumatic stress from it and think about it constantly.” It’s no surprise that the assault on the Twin Towers features prominently in her writing. Through non-fiction essays and two novels, the Iranian-born writer has tried to understand the tragedy’s impact on her, the nation, and the world. But while her essays are rooted in facts, her fiction takes flight. In The Last Illusion (Bloomsbury USA, 2014) there are, in fact, multiple references to flight. The main character, an albino man named Zal, is raised by his abusive mother in a cage among a balcony full of birds. Although he cannot fly, he yearns to. Rescued by an American and brought to New York in the years before 9/11, he tries to unlearn his feral ways and finds himself drawn to visionaries–an artist who claims to see the future and a famous magician who aspires, in a feat of illusionist virtuosity, to make the then still-standing World Trade Center disappear. The character of Zal is based on a Persian myth and Khakpour infuses the story with fabulous twists and turns. “My biggest challenge was doing a mythic retelling of a summer before 9/11 and not just any summer but Y2K to the summer before 9/11… Luckily, what was great about the realism was that the realism was quite surreal. If you look at the Y2K narrative, not to mention the 9/11 narrative, it’s full of the magical, full of the fabulist, full of the kind of impossible.” In her New Books interview, Khakpour discusses the impact of 9/11 on “everyone”: “I’m kind of amazed when I meet people who think it didn’t really affect them or the event wasn’t that big a deal in their life. Maybe the actual day wasn’t but their lives have completely been altered, even just economically. Anyone who has a job today has been affected by it.” She speculates about the trepidation publishers might have had about a book that uses myth and fantasy modes to tell a story about 9/11: “It took over two and half years to sell this book whereas my first book only took a few months…. If I’d done a purely realistic take from say a Middle Eastern woman’s perspective, my guess is it would have sold faster but this idea that I was using a fabulous mode, a sort of speculative mode, and addressing this sensitive world event and then add to the fact that here I am, you know, a brown person addressing this–that caused I think some complications. About her connection to her protagonist Zal, who, like her is an Iranian-born immigrant: “I don’t think I’ve ever written a character that I’ve identified with more.” Related links: * Khakpour’s magician in The Last Illusion was inspired by the real life example of David Copperfield, who made the Statue of Liberty “disappear” in a television special in the 1970s. Here’s a clip on YouTube. * Follow Porochista Khakpour on Twitter. Rob Wolf is the author of The Alternate Universe and Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

If you’re a reader, then you know the joy of discovering books. You also know that some of those discoveries stand out. Yes, there’s the pleasure of finding a good book. And there’s even those rare occasions where you find the right book: the right book at the right time in your life, the one that somehow shapes or bolsters who you are. And then there are those other moments, where the book you find feels more like you’ve uncovered a hidden gem. You’re Keats, on first looking into Chapman’s Homer, feeling “like stout Cortez” discovering a new world. In my case, the feeling resembles something less epic and more out of Indian Jones, as though, descending into the shelves of the Strand Bookstore in New York or Powell’s Books in Portland, I emerge with a lost treasure, a forgotten totem or relic. It’s a great feeling, one I love sharing with other readers. And that was very much my experience with Mark Ehling‘s new collection, River Dead of Minneapolis Scavenged by Teens (New Carriage, 2015). Finding it was a matter of luck. I’d come across one of his pieces online months ago and I’d found both strange and compelling. And then a writer who knows us both invited us to speak about an emerging genre that she calls “the visual essay.” And, then, on the very weekend we spoke, after Ehling gave a performance of his work that was somehow hilarious and moving, I learned he was launching a new book. I immediately ordered a copy and I wasn’t not more than a few pages in before I heard that Indiana Jones theme resounding in my readerly brain. Ehling’s work is weird and rich and and intruguing and odd and wholly its own. And it’s a joy to say to readers like you: you have to check this out. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Ferrett Steinmetz first built an audience as a blogger, penning provocative essays about “puns, politics and polyamory” (among other things) with titles like “Dear Daughter: I Hope You Have Awesome Sex” and “How Kids React To My Pretty Princess Nails.” In recent years, he has drawn accolades as an author of speculative fiction, writing short stories and earning a Nebula nomination in 2011 for his novelette Sauerkraut Station. And now he is exploring new waters with the publication of his first novel, Flex (Angry Robot, 2015), which tells the story of a father desperate enough to use illegal magic to heal his badly burned daughter. The title refers to crystalized magic that, when snorted, gives the user the power to manipulate objects for which he or she has a particular affinity. Cat ladies become felinemancers. Weightlifters become musclemancers. Graphic artists become illustromancers. And the protagonist, a paper-pushing bureaucrat by the name of Paul Tsabo, becomes a bureaucromancer, able to turn paperwork (with the help of flex) into a magical beast. The only problem is that with flex comes flux–a pushback from the universe that re-balances any magic act with disaster. Below are highlights from Steinmetz’s New Books interview. On what he learned at Clarion Writers’ Workshop: “Bit by bit they kind of stripped away my illusions and showed me how lazy I’d been and how much more effort I had to put to make my stories top notch. … I thought I was a one and a half draft person, but realistically I have to put in 5 drafts before the story starts to get good.” On how paperwork can become magical in Paul Tsabo’s hands: “He’s basically useless in a firefight but can send a SWAT team through your door by dropping a magically completed warrant for your arrest on a cop’s desk.” On why he why a world with flex also needs flux: “Flux evens out the odds of magic…. I really hate novels where magic is this thing  you can do … without any kind of cost…. Frequently what I see is, ‘Oh, I’m a magician. I’ll raise an army of the dead and make my castle out of magic,’ and where is any challenge in that for your characters? Where do they have any stopping points to what they can do?… A big tension in the book as to whether the mancers should even use their magic.” On his approach to writing: “I’m what’s called a gardener writer in the business. There are plotters who basically sit down and plot out all their books beat by beat and know their ending the minute they start their first sentence. And Flex, like every story I’ve ever written– basically I wrote an interesting first paragraph and followed it randomly until the end of the book.” On 9/11 as an inspiration for Flex: “To a large extent the magic system in Flex is driven by a reaction to 9/11, where something really bad happened–and yes it really was bad… but we really overreacted that wasn’t helpful at all and in fact may have made it entirely worse for us.” Related link: * Follow Ferrett Steinmetz on his blog or on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Despite the odds, Meg Elison did it. First, she finished the book she wanted to write. Second, she found a publisher–without an agent. Third, she won the Philip K. Dick Award for Distinguished Science Fiction, a stunning achievement for a first-time author with a small, independent press. The Book of the Unnamed Midwife (Sybaritic Press, 2014) is set in the American West after an epidemic has killed all but a fraction of humanity. Among the survivors, men vastly outnumber women, setting in motion a desperate journey of survival for the eponymous midwife. To avoid the serial rape and enslavement that threatens all females in this male-dominated landscape, the midwife sheds her name and even her sexuality, presenting herself as a man and continuously changing her moniker to suit the circumstance. Communication falls apart too quickly for anyone to even know the name or nature of the illness that’s destroyed civilization and made childbirth a fatal event for female survivors. The midwife’s focus is on giving the few women she meets the hard-won power to prevent pregnancy. “I think the thing I wanted to come across most strongly was to explode notions of gender… And to really think about what your options would be like if you, like your grandmother, had no control over when you had children or how or by whom,” Elison says in her New Books interview. Elison was raised on stories about the apocalypse–the fire and brimstone kind. “I grew up in some pretty crazy evangelical churches, and they hammered on us about the end of days and the Book of Revelation, and it gave me nightmares, and it made always think about the fact that the end was nigh and that it was going to be bad, and I think that stuck with me my whole life even though I shed the ideological parts of it.” For the midwife, the apocalypse poses threats both dramatic and mundane. When not searching for food and a safe place to spend the night, she must negotiate the frustrating reality of spending time with people she doesn’t like. “I started thinking about what it would be like if the only people you could find were people you couldn’t stand, if they just irritated in you every way,” Elison says. “There’s nothing wrong with them and they’re not unsafe, you just don’t like being there. So I wanted to make a character who had to make choices between feeling safe in a group of people and feeling pissed off all the time.” Elison is grateful for the editors at Sybaritic Press, who published her unagented manuscript. “They’re very good editors and publishers,” she says. But inevitably, she’s had to do a lot of marketing herself. “It’s good because I’ve learned a lot about the business doing that and it’s not good because no one listens to a writer on her own.” Fortunately, the Philip K. Dick Award has made finding readers a whole lot easier. The award “has opened a lot of doors,” she says. Related links: * An article in the Los Angeles Review of Books explores the book’s treatment of “Gender and the Apocalypse.” [Note: the article has spoilers]. * Meg Elison shares her thoughts on her blog. Rob Wolf is the author of The Alternate Universe and Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Short story writing, novel writing, and translating require a variety of skills and strengths that are hardly ever found in a single person. Ken Liu is one of those rare individuals who has them all. He is perhaps best known for short stories like The Paper Menagerie, which (according to his Wikipedia entry) was the first work of fiction to earn Nebula, Hugo, and World Fantasy Awards. But this year he’s making waves with two longer projects, which are the focus of his New Books interview: his translation of Cixin Liu‘s The Three-Body Problem and his debut novel The Grace of Kings. The Three-Body Problem has been a break-out success in China for Cixin Liu, who has won China’s Galaxy Award for science fiction nine times. The Three-Body Problem is also the first hard science-fiction novel by an author from the People’s Republic of China to be translated into English. Ken Liu (who is not related to Cixin Liu) says sales numbers for science fiction in China would be the envy of American publishers, but Chinese publishers have traditionally considered it a niche market. That is, until The Three-Body Problem and its two sequels came along. Officially, Chinese readers have bought about 400,000 copies of the three-volume series but Liu says the actual number of readers is far larger as books get passed among friends and family. Liu anticipated it would be difficult to translate the language of science, but the cultural references proved more challenging. Ultimately, he decided to add concise footnotes to fill in some gaps without overwhelming readers with too much information. The success of his translation is reflected in the The Three-Body Problem‘s Nebula and Hugo nominations for best novel. The Grace of Kings, the first book in Liu’s projected Dandelion Dynasty, is a very different project–an epic fantasy/science-fiction mashup that Liu calls “silkpunk.” Liu grew up in a Chinese speaking household. “Every culture has its own set of foundational narratives that are echoed and dialogued with and re-imagined over and over again… They’re stories about how a people embody their own values and see themselves as having meaning in the universe.” In the case of The Grace of Kings, Liu drew from an ancient historical struggle known as the Chu-Han Contention but reimagines it in a secondary world, using both classic Western and Chinese storytelling techniques. “The result is this melding of everything into this fantastical universe that I call silkpunk,” Liu says. “So there are battle kites and mechanical contraptions of various sorts, underwater boats and airships that propel themselves with giant feathered oars that represent the kinds of things you see in Chinese block prints and historical romances [but] sort of blown up and extended into a new technology vocabulary that I had a lot fun playing with.” Rob Wolf is the author of The Alternate Universe and The Escape. He worked for many years as a journalist, writing on a wide range of topics from science to justice reform, and now serves as director of communications for a think tank in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Despite being Germany’s most famous literary lion, in 1786 Johann Wolfgang von Goethe had to jump on a mail coach incognito to begin his travels to Italy (of course, he asked permission first from his patron the duke Karl August). InThe Bells in Their Silence: Travels through Germany (Princeton University Press, 2006), Michael Gorra takes the reader on a reverse journey, for it is by slipping in “incognito” that we will begin to find Germany in all its imponderables. The result of a year’s sabbatical residence in Hamburg, this book is a deep and discursive exploration of a country with millennia of history, and it explores how Germany’s dark role during the twentieth century weaves in and out of the everyday in the twenty-first. The travel companions Gorra invites along are an exceptional group: Thomas Mann, Walter Benjamin, W. G. Sebald, Bruce Chatwin. They all have looked at traveling through a kaleidoscopic lens and do not follow the linear as much as channel the essence of physical, historical, and cultural motion. Gorra states the unlikelihood of there ever being a book called A Year in Schleswig-Holstein or Under the Nordrhein-Westfälische Sun. This is the land of school trips to war memorials commemorating the dead of all sides. Of burnt-out buildings that remain so and become part of the landscape. The fiercest debates now about outsiders may be about the East Germans whose integration into the reunited Germany began following the fall of the Berlin Wall in 1989. Even Berlin itself is hard to define because it is still in the throws of becoming. Since 1852, it has undergone almost constant change. City maps show nine different iterations between 1902 and 1949. And more momentous change is taking place now, for Berlin has become the newest “destination” global city. Perhaps no German painting is more mysterious than “The Wanderer Above the Sea of Fog,” the 1817 work by David Caspar Friedrich. In using it to open “The Bells in Their Silence: Travels Through Germany,” Gorra suggests that for Germany, the quest is a more appropriate approach than a road map in the search for clarity. A Pulitzer-Prize finalist in biography, Michael Gorra is the Mary Augusta Jordan Professor of English Language and Literature at Smith College. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

David Hull‘s new translation of Mao Dun’s Waverings (Chinese University of Hong Kong, 2014)(Research Centre for Translation, Chinese University of Hong Kong, 2014) is both a beautiful literary work and a boon for scholars and teachers working in the field of modern Chinese studies. Waverings is the second work in the Eclipse trilogy, three books that were published serially in The Short Story Magazine beginning in 1927. These are the first works of fiction written by Shen Yanbing, the man who would later take on the pseudonym Mao Dun. Waverings offers readers a perspective on the 1926-1927 revolution – and problems of labor and women’s rights therein – but that perspective shifts depending on which version of the text that the reader encounters: while the first version was written very quickly in 1927 while the author was in hiding in Shanghai, another 1954 revision of the text is, in many ways, quite different. In his prefatory remarks, Hull thoughtfully reflects on how to navigate this and other challenges for the modern translator. Hull’s translation beautifully renders the powerful illusions and visions that recur throughout the story, and movingly give life to some extraordinarily powerful fictional characters. It’s a boon for lovers of stories, for teachers, and for scholars of the modern world. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Jennifer Marie Brissett‘s first novel, Elysium, or the World After (Aqueduct Press, 2014), portrays a fractured world, one whose seemingly irreversible destruction does nothing to dampen the survivors’ collective will to live. Brissett showed similar determination in writing the book, whose non-traditional structure places it outside the mainstream. Fortunately, her approach has been validated, first by her teachers at Stonecoast Creative Writing Program at the University of Southern Maine, where she wrote Elysium as her final thesis, and later by the committee that selected Elysium as one of six nominees for the Philip K. Dick Award. (The winner will be announced April 3). “I wasn’t sure there was a space for me in this writing world. And to a certain degree I still sort of wonder. But the idea that I could write and that my stories are worthy of being told was something [Stonecoast] really helped to foster in me,” Brissett says in her New Books interview. In some respects, Elysium is simple: it tells a story of love and loss between two people. But Elysium is also complicated because those two people morph from scene to scene, changing from two brothers to father/daughter to husband/wife to boyfriend/boyfriend to girlfriend/girlfriend. When imagining the future, conventional science fiction often focuses too much on gadgets and not enough on people, Brissett says. “We think [science fiction] is about … the new machines we’ll have, the little gadgets that will make our lives easier … but I think the civil rights movement is one of the most science-fictional things that could have probably happened, because all of a sudden this entire group of people that was totally ignored showed up at the table and said ‘We want in.'” As a child, Brissett found the Wonder Bread future depicted in The Jetsons frightening. “I remember watching as a kid the Jetsons and thinking ‘That is an absolutely terrifying vision of the future. Where are all the black people?'” she says. “The future belongs to everybody. It doesn’t really belong to any one group. And yet when you see visions of the future, it’s usually mostly white heterosexual people wandering around.” In the early 2000s, Brissett owned an independent bookstore in Brooklyn, N.Y., where she experienced the publishing industry’s struggles firsthand. Rather that discourage her from becoming a writer herself, the experience seems to have solidified her desire to tell stories in the way she wants to tell them. “You have to love this field to be here. If you’re here for money, you are certifiably crazy,” she says. Spoiler Alert From 6:45 to 10:24 we talk about a major part of the plot, which is revealed on the book jacket but isn’t explained until near the end of the book. Listeners might want to skip this part (and not read the jacket copy) if they want to approach the story as a mystery whose answer lies in the book’s structure. Related Links * Elysium was inspired, in part, by Roman Emperor Hadrian’s love of Antinous. * Brissett mentions her recently deceased friend, the writer Eugie Foster. * She also mentions a number of her teachers, including Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

While science fiction often seeks to imagine the impact of new science on the future, Rod Duncan explores an opposite: what happens when science remains frozen in the past. In The Bullet-Catcher’s Daughter‘s alternate history, the Luddites prevailed in their protests 200 years ago against labor-replacing machinery, leaving science and culture stuck for generations in a Victorian-like age. Against this backdrop, Duncan introduces Elizabeth Barnabus, who outmaneuvers the restrictions placed on her as a single woman by pretending (with the help of quick-change-artist skills) to be her own brother. “Gender identity and gender presentation is a theme that runs through Bullet-Catcher’s Daughter because in order to do certain things in her world she needs at times to cross-dress and do it in a convincing way,” Duncan says. Elizabeth’s mastery of disguise–and her knowledge of deception acquired from her circus-owning father–allow her to earn a living as a private investigator and accept an assignment that brings her face to face with agents of the dreaded International Patent Office, which maintains a choke hold on scientific advancement. In January, The Bullet-Catcher’s Daughter was nominated for the Philip K. Dick Award, validating Duncan’s decision to take a stab at science fiction. “I like to let ideas play in an imagined world and see what happens,” he says. Asked if he found it difficult to write a first-person narrative in a woman’s voice, Duncan points out that all writers must overcome countless barriers to fully enter the minds of their characters. “The book is about illusion and any writer trying to write from the point of view of someone different from themselves is trying to pull off some kind of illusion; they are trying with smoke and mirrors to seem as if they are realistically that person. … That person may be different in all kinds of … ways from the writer.” Duncan explains that he is dyslexic. “So for me is it a bigger challenge to write from the view of someone who is not dyslexic or is it a bigger challenge to write from the point of view of someone who is from a different time or someone who is a different sex?” In the end, Duncan says that all writers, like his protagonist Elizabeth, are cross-dressers “in a psychological sense because we have to put ourselves into the minds of other people.” Related links: * The interview touches on the conjuring illusion “the bullet catch” from which the book derives its title. * Ned Ludd and the Luddites also come up. * The conversation concludes with a mention of Duncan’s role in the movie Zombie Undead. The trailer is on Rotten Tomatoes and the entire film in on YouTube. Rob Wolf is the author of The Alternate Universe and The Escape. He worked for many years as a journalist, writing on a wide range of topics from science to justice reform, and now serves as director of communications for a think tank in New York City. He blogs at Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

It’s no surprise that when scientists in Ben H. Winters‘ The Last Policeman series declare that a 6.5-mile asteroid is going to destroy life as we know it on October 3, civilization starts to unravel. Governments collapse. People quit their jobs and abandon their families. Survivalists stock up on guns and food, imagining there’s a way to outsmart the impending holocaust. Fatalists sink into hedonism, depression or suicide. And then there’s Hank Palace, a detective on the Concord, N.H., police force and the eponymous star of Winter’s trilogy. Faced with the end of the world, Palace does the almost unthinkable: he keeps doing his job. “He’s taken an oath to uphold the law … and to him an oath is an oath, a promise is a promise, and it doesn’t matter what the context is,” Winters says in his New Books in Science Fiction and Fantasy interview. Palace remains dedicated to his job as he tries to: determine whether an apparent suicide is actually a murder (Book 1); track down a missing person (Book 2); and find his sister, who’s joined a group determined to save the planet (Book 3). Throughout the trilogy, Winters demonstrates a mastery of two genres, a fact reflected in the awards the series has collected. The first book, The Last Policeman, earned an Edgar Award from the Mystery Writers of America, while the second book, Countdown City, was recognized for excellence in science fiction with the receipt of the Philip K. Dick Award, and the third book, World of Trouble, which was published in July 2014, is a finalist for (another!) Edgar Award (the winner will be announced in April). Like his main character, Winters likes to be prepared while remaining flexible. “I always start with a pretty good outline and then by the time I’m really deep into the book that outline is more or less thrown away and replaced by a different one,” Winters says. “I have to allow the outline to be there but for it to always be provisional, to always be a work in progress.” Among other topics tackled in the interview are Winters’ optimism about human nature, the art of telling a compelling mystery, and some hints about his next book (a mystery in an alternate or “counter-factual” America). Related link: * Follow Ben H. Winters on his blog at http://benhwinters.com/, on Twitter at @BenHWinters or on Facebook. Rob Wolf is the author of The Alternate Universe and The Escape. He worked for many years as a journalist, writing on a wide range of topics from science to justice reform, and now serves as director of communications for a think tank in New York City. He blogs at Rob Wolf Books and I Saw it Today. Follow him on Twitter: @RobWolfBooks Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature