Category: interview

interview

Brain in a Basket: Interview with Sarah Herrington

by Julie Chibbaro

A few months ago, I crashed physically: I couldn’t get out of bed, I couldn’t look at my phone or computer, couldn’t be near electronics of any kind, couldn’t even wear my step counter. I had been working hard—clearly, too hard—on my novel for months and months. I had forced myself to sit at my desk for 6 to 8 hours a day, crouched over my computer, churning out pages, even when I didn’t feel like it. I was angry that the book wasn’t coming as fast or as well as I wanted it to. And, maybe I was somehow punishing myself for not being the writer I’d imagined I would, and should be.

Later, huddled in bed with my physical pain, I realized I’d suffered a disconnect between my brain and my body. It wasn’t the first time that had happened to me. So I decided to talk to friend, yogi and author Sarah Herrington about how to approach the relationship between my writing and my physical body.

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Sarah is a yoga teacher and author of Wanderlust: A Modern Yogi’s Guide to Discovering Your Best Self; Om Schooled: A Teacher’s Guide to Yoga in Schools; and Essential Yoga. She is also a poet, and a fabulous journalist whose work has appeared in the LA Times, the New York Times, Interview magazine, Tin House, and Writer’s Digest, among many other publications.

Here are her thoughts on writing and the body, and other topics:

GLB: As a writer, I often feel like a brain in a basket, at times completely forgetting I have a body. You’ve written a number of essays on writing and the body. What does my body have to do with my writing?

Sarah: I have felt that way a lot! As a teen I had my nose in books and often forgot I had a body at all. When I discovered yoga it not only helped heal that split (the word “yoga” means “union,” after all), my writing practice changed. In fact, one of the reasons I started exploring yoga is that, after my first class, I felt a surge of creative energy and went home and wrote all night.

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In my experience it’s helpful to get out of my head and into my heart and body, where I believe the origins of stories live. The body records stories in the form of sensations, and to tap into their power before approaching the realm of language, to me, makes the words more true. And I want my words to be as true as possible. I often practice meditation or yoga before going to my computer. They both quiet my mind, so I can hear my spirit and gut, and hopefully write from there. Getting in touch with my body helps me sense my way into the subconscious as well, which has a lot of interesting writing material. I think writers’ minds are often on fire with ideas and to settle the mind through a body-centered practice helps you focus and follow through.

I’ll also say writing can be quite physically rigorous—think wrists and back. Dance, yoga, walking, taking a nap—something to get into the body—creates a sense of ease which then will hopefully let me write longer.

GLB: Your topics are wide-ranging. For example, you’ve written about ethics in yoga practice. That’s a fascinating subject! Why is this an important issue to write about?

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Sarah: Because there are questionable things—and worse—happening! And I believe in the power of talking, and writing, about what is in the shadows. As a woman in yoga and meditation spaces I’ve both experienced and been witness to other practitioners—mostly women—being touched inappropriately, complicated student/ teacher relationships, disrespectful language, and other potentially shady behavior.

I wrote about ethics in student/teacher relationships in particular for the New York Times and Yoga Journal before the #metoo movement hit, and I’m very thankful to see conversations expanding, and communities more consciously addressing this. All seekers, regardless of gender expression, have the right to learn and explore. Of course I feel the same about literary spaces, as well.

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GLB: Can you talk a little about what other writers have influenced you? What has led you on this particular writing path that you’re on?

Sarah: I think of the word “lineage” a lot, because it’s important in yoga and Buddhism, but also art and writing. I feel I’m part of a lineage of both women writers who I admire for using their voice in societies that tried to silence them, and of writers who practiced both Eastern contemplative practices and creative ones. For example, poets and writers like Anne Waldman, Jane Hirshfield, and Allen Ginsberg both meditated and wrote. These people moved between silence and language, and that’s my jam. Then there’s Walt Whitman- great yogi poet who explored the interconnectedness of things. Emerson and Thoreau, whose Transcendentalist work drips with yogic philosophy. There’s also my mentors: Francesca Lia Block, who encouraged heart-centered creativity, and Susan Shapiro, who fired me up and helped me fall in love with essays and being more honest in my work.

There are so many writers, dead and alive, who feel like family, and depending on what’s going on in my life, different ones speak to me in different ways. In this way I’m never alone.

BIO: Sarah Herrington’s essays have appeared in the New York Times,  LATimes,  Poets and Writers Magazine,  Tin House, Interview Magazine, Slice, San Francisco Chronicle, Writer’s Digest, Yoga Journal and other outlets, and she was selected as one of eight emerging women poets by Oprah Magazine. She is the author of a collection of poetry, Always Moving (Bowery Books, 2011) and several nonfiction books, including Om Schooled (Addriya Press, 2012), Essential Yoga (Fair Winds Press, 2013). She worked as editor/co-author on Wanderlust: Find Your True North (Rodale, 2015).  She has worked with Girls Write Now mentoring teen girl writers, Gotham Writers Workshop offering student support and coordinating events, and found family at the Bowery Poetry Club. She has been a visiting writer at UCLA, The New School, University of Central Florida and other institutions. She currently works at Loyola Marymount University in Los Angeles.

 

interview

A Unique Burden: Interview with Writer Leland Cheuk

by Julie Chibbaro

Some writers, even though they’re so different from you, make you want to be just like them. I think of Leland Cheuk, whom I met over fifteen years ago at the Squaw Valley Writers Conference, as one of those writers—despite our differences, I admire him so much.

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At Squaw Valley, Leland and I were at the same place in our careers: unpublished, with stars in our eyes. We stayed in touch and shared our work, trying to help one another. As I’ve read his stories over the years, I’ve found myself consistently impressed by his wry, biting humor, the (seeming) ease with which he deals with his difficult family, the way he straddles literary fiction and social commentary. He has also come through the tremendous experience of surviving leukemia, which he has written about for Salon. I’ve invited him to come talk to us at Get Lit Beacon in November, which he has graciously agreed to do. Before his visit, I grabbed him for a few questions about his formation as a writer:

GLB: A fierce awareness of identity comes through in so much of your work (sometimes satirically). Where does this awareness come from?

LC: If I could choose to be unaware of the questions of identity, I would! But it’s a unique burden artists of color carry. When I was doing standup comedy, I quickly found out that my first joke had to address the audience’s first impression, which was that I was of Asian descent. If I didn’t address it, the audience would be distracted, wondering why I didn’t address it. A white comic can just walk on the stage and the first thing people see is gender and age. It’s sadly the same thing for writers. That’s why I find all the back and forth about cultural appropriation amusing. When authors like Lionel Shriver bridle against being limited as an artist, I feel like shouting: try being an author of color for a day!

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If I didn’t have to write about identity to feed the expectations of readers, I wouldn’t. I’d just write weird George Saunders-inspired stories satirizing capitalism and social media all day. In some ways we’ve progressed, and in others we haven’t. Given these unfortunate limitations for authors of color, I just try to find original ways to approach identity issues.

GLB: You’ve started your own indie press. What inspired that?

LC: A little over four years ago, I had cancer and needed a lifesaving stem cell transplant. I’d been trying for almost two decades to publish my first book, and I was thinking: man, if this transplant doesn’t go well, I’ve really wasted my life. On the day the transplant engrafted (July 13), I got an acceptance email from an indie press for my first novel. Two years later on the same date, I got an acceptance email from an indie press for my story collection. If it wasn’t for the help of strangers like my donor and these indie press-runners, I wouldn’t be alive and I wouldn’t be an author. So I felt compelled to give back and start my own press: 7.13 Books, which publishes only first books of fiction.

GLB: You’ve had some heath issues in recent years. How did you manage to keep focused on writing, even while dealing with such intense pain and recovery?

LC: At first it was difficult. I had trouble sitting in front of a screen for more than thirty minutes without getting tired. But over time, it’s become a blessing. I’m lucky. I have a very supportive wife. Having a serious illness helps you focus on what’s important to your day. I kind of liken it to an aging athlete having to do all these extra things to prepare their body to play the game longer. I have to do all these things to make me feel good physically so I can focus and play the game of writing for a few hours each day.

Leland’s bio: A MacDowell Colony fellow, Leland Cheuk authored THE MISADVENTURES OF SULLIVER PONG (CCLaP, 2015), a novel, and LETTERS FROM DINOSAURS (Thought Catalog, 2016), stories. His next book, NO GOOD VERY BAD ASIAN, a novel, is forthcoming in 2019 from C&R Press. His work has been covered in VICE, Electric Literature, The Millions, and The Rumpus, and appears or is forthcoming in Salon, Catapult, Joyland Magazine, Kenyon Review, and elsewhere. He is the fiction editor at Newfound Journal and the founder of the indie press 7.13 Books. He lives in Brooklyn. You can follow him on Twitter @lcheuk and reach him at leland.cheuk at gmail.com.

interview

Her Superpower: Interview with Author Lily Burana

by Julie Chibbaro

You’re alone in a room. There’s nothing around you that can distract you. No one needs you. You’ve made it this way. Because you have a priority, and that is to put down one word after another and make sense to someone other than yourself. You have to do this well, or no one will understand you. You have to do this every day till you’re done saying what you have to say.

Outside of that room is the world. You really want to go there, see your friends, lie in bed with your lover, or with a movie. Splash in the river. Garden.

But you cannot get out of the room until you finish what you’ve started, or you’ll have a lot of mental anguish.

To me, that’s what writing feels like.

Setting up the stakes, putting up the boundaries, getting it done so I can live with myself.

I look at other writers and marvel at how much they seem to be IN the world while writing about it. I think they have some superpower that I don’t. I thought that of Lily Burana, author of Strip City, Try, I Love A Man In Uniform, and her latest, Grace For Amateurs.

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It seemed like Lily (who was the featured guest at our very first Get Lit gathering) could write about anything, and still be active and involved in the world around her at the same time. When we talked, I asked Lily how she wrote so much and so well, who influences her, and how she can write about so many different topics, seemingly effortlessly. Her thoughtful and wide-ranging answers surprised me:

GLB: You are such a complex lady with an amazing scope to your writing. I am dying to know who your influences are or were. Feel free to take us through “a short history of Lily via the authors and books she has read.”

LILY: My first and biggest influence, as a teenager, was Sylvia Plath, because she was the first writer I ever read who so beautifully and pitilessly explored the modern female condition, the double standard for women as opposed to men, depression, artistic ambition, the conflict of pleasing your family versus pursuing your own goals. We take all those subjects for granted now as “fair game,” but to be writing about such things in the 1950s and 60s was truly astonishing, as those were the “Good Girl” days. Plus Plath was a poet, and the emotional and sensory depth that her poetic gift lent to her writing really set a high standard for me. I was a total Plathophile. My mother was a librarian, and she’d bring home any obscure Plath thing she could find, like Plath’s book of short stories, Johnny Panic and the Bible of Dreams. There was also Memories of Ariel, which was a short memoir by Nancy Hunter Steiner, the woman who was chosen to be Plath’s roommate after she returned to college following her breakdown.

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The writers whose work I most admire—writing that manages to show the full emotional landscape and minute details of a life or a subculture or a setting—tend to be poets at heart: Dorothy Allison, Mary Karr, Plath, of course, plus newer writers like Patricia Lockwood. But I’ve also always loved social justice and political writing so I’ve been influenced by everything from punk ‘zine culture, to canonical LGBT authors like Audre Lorde, James Baldwin, Pat Califia, and Susie Bright, to progressive theologians like Nadia Bolz Weber. I enjoy fiction somewhat, but nonfiction is my true artistic engine. Everything I’m most moved by, and thus aspire to create, is organized around a central question: how do we, as artists, portray the lived experience in a vivid, unsparing, but hopeful way?

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I’ve never felt particularly pressured to limit myself to one “beat” or one particular subject. If it interests me enough to investigate it, I figure it’s fair game. I’m not a “write what you know” type. I’m a “write what obsesses you” type, because the more obsessed you are, the more you’ll get to know your topic, and the better the work will be. If you’re not passionate about a subject, you won’t have the steam to keep going. There’s too much fun stuff out in the world to distract you from anything that isn’t a near-consuming flame.

GLB: Again, the words “varied, complex, layered, deep” come to me when I think of your writing. From religious meditations to military-life musings to sex-worker woes, how do you manage to go so far out on so many limbs with your writing, and find the courage to then put the writing out there, despite the potential backlash to your ideas?

LILY: Please understand: I may summon up a lot of nerve to write into a number of difficult topics, but that’s only because that difficulty is counterbalanced by living a simple, and often solitary, life. You know me, so you know I’m not at all shy, but I am very self-protective. I’m not that brave, in terms of my ability to be able to deal with conflict or personal attack. If I were ever besieged by hordes of haters or trolls online, I might implode. God knows what kind of nervous breakdown I’d have if someone got in my face in person. I write the way that I write because I purposely and purposefully constructed for myself a very sedate, very quiet lifestyle: I spend a lot of time alone, thinking about what I’m going to write before I even get started. I tend to not write about something until I’m “finished” with it—that is, I have let it cool down enough in my mind and heart so I can observe it most clearly and honestly. I’m also able to write this way because I know I’ll always be a freelance schmo who doesn’t really need to worry about what Joe in Accounting thinks of me, or how I affect the image of the corporation or the congregation or the nurses on the fourth floor.

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As much as I put out there in writing, I keep a great deal to myself. Many writers are out and about a lot, and they have their family and their home all over Instagram, and I prefer not to. I’m much more reserved, much more guarded than is encouraged these days, when writers are expected to sort of be their own “lifestyle brand.” Readers want to know more about you, want to feel like they’re part of your circle, your family, your scene, but I don’t think I could be open with all of that and be as open as I am as a writer. I need a place to come back to that’s just mine and my family’s. The more protected I feel around the things I feel uneasy showing to the world, like my places of retreat (family, friends, home), the more daring I can be in what I do share with the world.

GLB: What sorts of things do you say to yourself when you’re getting ready to write? Do you have a schedule, a set rhythm, a series of mantras, or any affirmations to help you along in your process?

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LILY: I live and die by “all first drafts are shit.” If I didn’t have that drilled into my head, on a loop like a mantra, I’d never get anything done. That, and “you’ll go over it again later.” Like many writers, I have this negative fantasy that everyone else churns out these flawless pieces on the first try, when in fact, a good piece of writing, even a short one, can take years and years to perfect. Knowing that I can revise it until I’m satisfied gives me the courage to get started in the first place.

interview

Monogamist Writing: An Interview with Author (and GLB September Guest) Danielle Trussoni

by Julie Chibbaro

We are lucky to live in the Hudson Valley near the Hudson River, which attracts many artists and writers to its luscious shores. Danielle Trussoni, along with her filmmaker husband Hadrien and her two children, is a recent transplant. Danielle will be our Get Lit Beacon guest in September 2018.

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Danielle is a phenomenal writer; she’s an award-winning memoirist and novelist, the author of the New York Times and international bestsellers Angelology and Angelopolis, as well as the memoirs Falling Through the Earth and The Fortress. She has also written under a pen name. Her books have been translated into over thirty languages. In addition to writing, Danielle co-hosts, along with Walter Kirn, “Writerly,” a podcast devoted to the practical aspects of the writing life.

I recently had the chance to catch up with Danielle, and asked her about the monogamist approach to writing, how and if becoming a parent affected her as a writer, and what part giving birth played in writing her books.

GLB: Your fiction has a wonderful mix of history, mystery, magic, and the imaginary wrapped in a tight literary package. You’re quite prolific; along with fiction, you’ve written memoir and essays. Your latest, Home Sweet Maison, published under the pen name Danielle Postel-Vinay, is a handbook on how to create a beautiful home like the French. My question is: Are you a monogamist writer—meaning, do you work on one project at a time? Or do you dip into various projects all at the same time?5189JQ6eAAL._SX381_BO1,204,203,200_

Danielle: I am definitely a one project at a time kind of writer. I need to concentrate fully on whatever I am working on. I try to be very clear in my mind about what I am doing and when I will be doing it. I am a planner. I have a journal that I keep in which I write down the number of words I write each day. I give myself a timeline for each project, and work to stay within that schedule. I am rigorous when it comes to keeping myself healthy, both physically and mentally. That means that I don’t drink much (if at all) when I’m working on a book. I exercise. I get lots of sleep. And then I show up every day at 8AM at my desk, ready to see where the road leads me.

When you’re writing, you must create your own day every day. It is important to be realistic, but also to challenge yourself. I’m always impressed by writers who are able to produce great work consistently. I believe that happens by keeping focused through desire, discipline and a strict schedule.

GLB: You have a new baby. Do you find that the publishing world treats mothers differently, as a “woman writer” with a baby who is therefore somehow less focused? Did you notice that attitudes were different in France when you lived there toward the question of work-life balance?

Danielle: I chose to keep my pregnancy a secret for the most part. And now that my daughter has been born I don’t post about her or go into the details of motherhood on social media. I don’t believe that my choice to have a baby should affect my work, and I have never allowed it to stand in the way of what I’m doing. I wrote a novel while I was pregnant. I was back at my desk three weeks after my daughter was born. Being a mother has made me more focused. That said, this doesn’t seem to be the case for everyone. I have worked with women agents and editors who have disappeared or become less focused after having a child. This served to make me more determined to keep my career on track.81wdN9coEaL

Another added benefit of having a child is that it allows you to see the world from a different point of view. Suddenly, you are caring for and protecting a very vulnerable human being, one who cannot fend for herself. This shift in perspective is inherently good for fiction writing, as it allows you to examine your perceptions and how they alter.

GLB: You run the podcast “Writerly,” in which you discuss all sorts of subjects of interest to writers. Why did you start this podcast? What do you hope listeners will take away from it?

Danielle: I found that I wanted to talk about writing, but that I was so tired of formulating written sentences by the end of my writing day that I couldn’t begin a blog. I also really hate the word “blog,” and couldn’t bring myself to create something with such a horrible name. Starting a podcast was a way to free myself from the computer screen and still discuss my ideas about writing in language, without being tied to my computer. It is very collaborative, as I co-host Writerly with the author Walter Kirn, and every episode is a kind of riff on a theme related to writing.

My favorite part of the podcast is that it is giving new writers a window into what it is like to be a working writer. It is like sitting in on two professionals having coffee and talking about their days. I wish that I had something like this when I was an MFA student, as it would have given me such a different perspective about what I was doing. I love getting messages from listeners, and sometimes we even read them (and answer them) on the show.

We now have nearly sixty episodes and we’re still finding important topics to discuss. It seems that it will be a never-ending endeavor! You can find the podcast in your app store or at www.writerlypodcast.com.

 

interview

Interview with Author Diane Lapis: Hot on the Trail of Cocktails Across America

by Julie Chibbaro

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We recently hosted author Diane Lapis who, with her writing partner Anne Peck-Davis, just published an unusual book that offers a unique overview of midcentury cocktail culture, featuring both recipes, and reproductions of the postcards used to advertise popular lounges and bars of the 1930s, 40s, and 50s. But it’s more than a mere compendium of recipes and pictures. In Cocktails Across America, Lapis and Peck-Davis tease out the stories behind each postcard, revealing some mighty strange history in these United States. I cornered Diane to ask a few questions about how she wrote the book, working with a co-author, and her unusual (yet serendipitous!) path to finding not only a great publisher, but a great agent too.

GLB: At Get Lit Beacon, you read to us a story about an Atomic cocktail. Is that really true? Can you tell us how you dug that story up?

Diane: The stories in Cocktails Across America use postcards as a starting point. My coauthor Anne Peck-Davis and I used a variety of materials to learn about the origins of the cocktail, or the bar or city in which the drink was first introduced. Vintage cocktail books and menus, newspaper and journal articles and advertisements, books, and websites were our go-to resources. For certain stories, we contacted historical societies, postcard clubs, and specialty libraries.

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Two postcards depicting views of atomic blasts were featured in the Atomic Cocktail story: Benny Binion’s Horseshoe Club, and Vegas Vic’s Pioneer Club. I gathered information from the Nevada National Security Site, the Nevada Historical Society Quarterly Magazine, the Los Angeles Times, and various websites and books about popular culture in Nevada. Then I pieced together how the hospitality industry capitalized on the atomic blasts as a form of entertainment. Finding old photos of beauty queens sporting the atomic bomb style hairdo, convinced me that this story had to be told.

GLB: You also mentioned you decided to find an agent for the book once you’d written it, even though you’d already found a publisher. Can you say why you made that decision?

Diane: Anne and I were thrilled that Countryman Press (a division of W.W. Norton) was interested in our manuscript. Before signing the contract, I serendipitously met the CEO of the Curtis Brown Literary Agency. He took an interest in our project and suggested that we consider using his agency to help with the business side of publishing. I was reluctant, as we already had a publisher… what could we possibly need an agent for??? Everyone that we knew in the publishing industry highly recommended engaging the services of an agent. Anne and I then interviewed one of Curtis Brown’s agents and liked his attitude and personality. He was well versed in the field and patiently answered our long list of questions. We are so thankful that we signed with Curtis Brown! Our agent was helpful in negotiating the complicated contract and added value to it as well.

GLB: How did you work together with your writing partner? Can you share a story of when it didn’t work so well?

Diane: Working with a creative collaborator was a gratifying experience. Anne and I shared similar interests in postcards and 20th century cultural history. We readily agreed on content and the design of the book, thereby making it easy to achieve our goals. We were ready to jump into something new and bold, and delighted in stretching our horizons. We split the workload, edited each other’s writing, suggested pathways to follow, and discovered and shared new resources.

However, our biggest challenge was finding time to work together. We were free during opposite times of the day and live about a 45-minute drive from each other. Therefore, we had to carefully plan our meetings. We prepared agendas that kept us focused and ensured that we discussed specific and time-sensitive items. Sometimes we met at a bookstore or traveled to each other’s homes. We sent hundreds (possibly thousands) of emails and had many lengthy phone conversations. Scheduling telephone conferences with our editor and agent required additional planning. Anne and I both loved working on this project, so we found positive ways to deal with our time challenge.