2018 Releases from SOUTHERN WRITERS ON WRITING Authors

Eight of the twenty-six authors who contributed essays (and the Foreword) to Southern Writers on Writing have new books out in 2018. I am honored to have all of these amazing writers in this collection, and I especially want to encourage my readers to check out these new releases for 2018. I love the diversity of this group of new releases, which includes two short story collections; five nonfiction books (two inspirational books, one memoir, one anthology, and one oral biography); and two novels. The authors hail from Tennessee, Mississippi, Alabama, Georgia, and South Carolina. CHECK THEM OUT:

9781101871867indexMemphis native Alan Lightman, who wrote the Foreword to Southern Writers on Writing, has 2 new books already out this year: In Praise of Wasting Time (May 2018) and Searching for Stars on an Island in May (March 2018).

 

 

 

9781611179071Katherine Clark’s oral biography, My Exaggerated Life: Pat Conroy, came out in March.

 

The BarrensProlific short story author John Floyd has another collection coming out in October: The Barrens. (He has published close to 1000 short stories!)

 

 

 

becoming-mrs-lewis-2b-web-624x943Patti Callahan Henry makes a departure from her coastal-themed novels with Becoming Mrs. Lewis, a novel about Joy Davidman, C. S. Lewis’s wife, coming in October.

 

Congratulations+who+are+you+again+pb+c

Harrison Scott Key brings us more humor with his new book, Congratulations! Who Are You Again?, coming in November.

 

Reddick coverNiles Reddick, another prolific short story author, brings us Reading the Coffee Grounds and Other Stories, which will be out in August.

 smith_thefighter_hc-2

Michael Farris Smith’s novel The Fighter came out in March.

 

OurPrinceofScribes_coverNicole Seitz is editor of Our Prince of Scribes: Writers Remember Pat Conroy, coming in September.

 

So, the contemporary canon of southern literature continues! Happy reading!

Authentic Happiness

NYM_top1I just scored a 3.08 on a scale of 1 to 5 on the Authentic Happiness Inventory designed by folks at the University of Pennsylvania.  The score reflects my overall “happiness” compared with others in my age group, zip code, education level, gender, and occupation group. Although I think it’s interesting that “writer” isn’t even listed as an occupation, so I checked “artist,” the closest option to my occupation. Why did I take this inventory?

This morning, with my morning coffee, I read an article in the recent issue of New York Magazine, “The Cure for New York Face,” about Professor Laurie Santos’s new course at Yale University, PSYC 157: Psychology and the Good Life. I was struck by the statistics—especially among people who seem to have lots of “reasons” to be happy, from an exterior point of view. Of course there’s lots about two things that seem related to our “happiness”—time and money, and how we value them and spend them.

In Praise coverSome parts of the article reminded me of the wonderful little book I read recently by Alan Lightman, In Praise of Wasting Time. I bought and read this book a few weeks ago, primarily because its author wrote the Foreword to the anthology I edited that was recently published by University Press of Mississippi, Southern Writers on Writing. Alan is from Memphis, but teaches at MIT now. A physicist. And a novelist. Interesting combination, and he brings both of those gifts to bear in his book, and his TED talk.

Last fall I did a post about Gretchen Rubin’s Happiness Project, “Moments of Happiness.”

Last March I did a post reflecting on a Wall Street Journal article, “Two Types of Happiness.”

The same month I read and reviewed Daphne Merken’s book, This Close to Happy.

Five years ago I was blogging about an article in Psychology Today: “Mindfulness Does Not Lead to Happiness.”

And six years ago I wrote this one: “Permission to NOT Be Happy.”

Are you seeing a trend here? And yet, I do feel that I am “happier” now that I was six years ago. And I’m actually a bit surprised that I didn’t score higher on the Authentic Happiness Inventory. But I do tend to be quite honest and in touch with my feelings. From a spiritual point of view, I sometimes wonder how important “happiness” is, as opposed to what seem to be deeper states like “peace” and “contentment.”

thOne thing I found interesting in the New York Magazine article was the author’s comments about money and happiness. His study showed that $75,000/year seems to be the salary “scientifically proven to provide the maximum amount of well-being.” So, he noted that in one study people making $30,000 a year were asked what salary would make them truly happy. The average answer was $50,000. But people making $100,000 a year said, on average, $250,000 would make them happy. Maybe it’s the old adage that the more we have, the more we want. I’m thinking about this now, not in terms of financial success, but with my writing career. Five years ago I was working with a New York literary agent (whom I would later part ways with) on my novel, CHERY BOMB, wondering if it would ever be published. When it came out last year—with a small press in Mississippi and not with one of the “big five”—I was “happy” to be published. It was a lifelong dream finally coming true. Actually, having three books published last year was pretty amazing. And a fourth this month. So, why is it that I still want “more”? Why am I now querying literary agents again (for my linked short story collection) rather than submitting it to an academic press?

the-quest-for-authentic-happiness-460x291I put this question to a very spiritual person whom I trust, and he encouraged me that it was a normal progression in my career to desire this next step up. That I wasn’t being obsessive about “success” in an unhealthy manner.

And yet I find myself praying—yes—for more success. My novel is entered into two prestigious writing contests and I’m waiting to hear the results this summer. Would I find a greater level of “happiness” if it wins one of those awards? Or even makes a short list or becomes a finalist? Of course I believe that would make me happier, but is that a superficial goal?

Again, I’ve been struggling with this for years, as these posts show:

“I Want More” (from 2016)

“We Want More” (from 2013)

It IS interesting to read those posts now, as someone who quit drinking almost nine months ago. I still want MORE (potato chips, chocolate, and—in conflict with those cravings—a skinnier body) almost every day, but I take encouragement from the fact that I was able to tame my out-of-control desire for more vodka, and hope that eventually the strength (and God’s grace) that enabled me to do that will cross over into other areas of my life. Like food. And contentment in my career.

I’d love to hear from my readers about your take on happiness. And if any of you take the Authentic Happiness Inventory, please let me know what you thought about it. Meanwhile, have a great weekend!

The Mutual UFO Network—Short Stories (and advice) from Lee Martin

Mutural UFO CoverPulitzer Prize finalist Lee Martin has a new short story collection coming out on June 12—The Mutual UFO Network. I’ve been a fan of Lee’s work since I first met him, five years ago when he was on the faculty for the 2013 Creative Nonfiction Conference, which I helped Neil White organize in Oxford, Mississippi. We invited Lee because of his three memoirs (it was a CNF conference, after all) but it was his fiction that got him to the finals for the Pulitzer. And it’s his short stories that are capturing my attention now, especially since I’m in the process of revising my first collection of shorts, Friends of the Library.

As I was finishing reading my advance readers copy of The Mutual UFO Network this morning, I read Lee’s blog post, “Three Principles for Short Story Writers.” Lots of wisdom in this short piece, like these words:

… a short story writer has to understand that there’s always a second story going on beneath the narrative arc of the surface story. That submerged story, located more within character relationships, is always working its way to the top through the pressures applied to it by the narrative events. To access that submerged story, a writer has to be a careful observer of people.

I’m going to go back and be sure each of my stories has this kind of depth. And I know I’m just learning to be a careful observer of people—like the people I met at those eight libraries in small towns in Mississippi last year.  So, here are Lee’s three principles for short story authors:

  1.  Start with the habitual and let a moment outside the ordinary be the inciting episode for the narrative to follow.

  2.  Create a causal chain of events that connect to the inciting episode and allows for its further exploration.

  3.  Let the pressure of that causal chain lead to a telling moment, when characters reveal something about themselves not ordinarily on display.

LeeMartinBioPage-167x250Lee certainly practices what he preaches, as evidenced by the depth of the characters and the scope of the narrative arcs in his stories in The Mutual UFO Network. Stories like “Across the Street,” and “Love Field,” which feature interactions among neighbors and involve human drama fueled by schizophrenia, a lonely old woman, and a baby’s drowning. When the mother of a son with schizophrenia asks her mentally unstable husband why he taped paper over the bottom half of their upstairs windows, here’s how their conversation went:

 

 

“I don’t want anyone looking in.”

“What are you afraid they’ll see?”

“My heart. The inside of my head. My soul. They can’t have that, Mother. I won’t let them.”

Most of the characters that people these stories are wounded and trying to find their way through what one of them—Benny, a sober drunk who at one time rigged a bar stool to a frame and a lawn mower engine and wrecked it—wished he had said to his one-eyed friend Wink:

I know the extremes we’ll go to so we don’t have to face the truth, particularly when the truth is the ugliness of our own living.

In “The Last Civilized House,” a story of “love in ruins,” Ancil and his wife Lucy live with regret and anger fueled by a decades old affair and an abortion.  Other stories feature a crippled ventriloquist who offers compassion to an abused bully, a Chinese woman whose memories are haunted by what Mao did to her parents and brings that pain into her relationship with her black neighbors (Miss Shabazz Shabazz and her mixed-race daughter) and her ex-husband and his new wife.

9781496202024-Perfect.inddLee’s embrace of the bizarre reminds me of Flannery O’Connor’s stories. And his prose is just as vibrant and seamless. One forgets that he’s from Illinois and sets his stories in the Midwest. He can hold his own with a host of southern writers with whom I spend most of my reading hours. The Mutual UFO Network is a must-read for lovers of good literature of any genre. Watch for its release on June 12! (Buy it from your local indie booksellers or pre-order NOW from Amazon!)

And for more wisdom on writing, get Lee’s book Telling Stories: The Craft of Stories and the Writing Life (just released in October 2017).

I’m off on a European riverboat cruise up (down?) the Rhine River tomorrow, so watch for pictures on Instagram and Facebook. Not sure if I’ll be blogging or not, as this is a real vacation for both of us. (My husband isn’t speaking at any medical meetings while we’re there!) Haven’t decided what book(s) to take for the voyage, but maybe they’ll end up in a review here eventually. Bon voyage!

FIRST REVIEWS are in for SOUTHERN WRITERS ON WRITING!

SouthernWritersOnWritingCOVERI am beyond thrilled with the first two reviews for SOUTHERN WRITERS ON WRITING!

Ed Tarkington’s review at Chapter 16, “Against Professional Southerners” also appeared in the Memphis Commercial Appeal on Sunday, April 29. Opening with quotes by Walker Percy and Flannery O’Connor, and later with nods to other legends like Faulkner and Welty, Tarkington praises various authors who contributed to the collection for their contemporary take on the age old question, “Why has the South produced so many good writers.” Tarkington also praises the anthology for its’ “accounting of the legacy of slavery and Jim Crow in shaping the Southern canon and deferring the dreams of African-American writers….” Four of those African-American writers have essays in the collection. And of course he acknowledges the importance of humor and front-porch storytelling to southern literature, and there’s plenty of that in the collection.

Also out Sunday, in the Jackson, Mississippi Clarion Ledger, is Jim Ewing’s review, “Southern writers share their secrets in ‘Writing’.” There’s no online link to the article, but Jim gave me permission to reprint it in its entirety, so here it is. Thanks so much, Jim!

 

 

A REVIEW OF

Southern Writers on Writing

Susan Cushman, editor

University Press of Mississippi

194 pages

 

Southern writers share their secrets in ‘Writing’

By Jim Ewing

Special to the Mississippi Clarion Ledger

USA TODAY NETWORK

 

What makes a writer a writer? Or a Southern writer, especially?

Is it that one writes and, hence, is a writer? Or lives in the South or writes about the South?

In “Southern Writers on Writing,” edited by Susan Cushman, the answers to these questions might not be as easy as they seem.

Thirteen women and thirteen men struggle to answer the question of their calling, and their responses show a nuanced look at why, and how, these authors came to be called Southern writers.

They include such well-known authors as Michael Ferris Smith, Jim Dees, W. Ralph Eubanks, Harrison Scott Key, Cassandra King, and Julie Cantrell. They quote as mentors such luminaries as Rick Bragg, Willie Morris, Barry Hannah, Shelby Foote, Ellen Douglas, and Walker Percy.

But, still, the answers prove elusive. Dees says it requires “insane courage” to “take the plunge” and commit one’s innermost thoughts to an uncaring, or uncertain, universe.

Joe Formichella says: “The truth is that you write because you can’t not write.”

Patti Callahan Henry, among other reasons, says: “I write because the stories inside have to go somewhere, so why not on paper?”

Some of these writers are from the South, others just came to be here. Like Sonja Livingston, who found Southern writers “crept up” on her, seeming familiar, drawing her to the region and lifestyle. Most of all, the way Southern writers write is alluring, unleashing inner secrets, she explains, “set out like colorful laundry flapping on a line, (that) I’d learned to keep folded and tucked away.”

Cantrell, who hails from Louisiana, confides that Southern writing taps all the senses. “When we set a story here, we not only deliver a cast of colorful characters, we share their sinful secrets while serving a mouth-watering meal…. The South offers a fantasy, a place where time slows and anxieties melt away like the ice in a glass of sugar cane rum.”

“The South is nothing less than a sanctuary for a story,” she adds. “It is the porch swing, the rocking chair, the barstool, the back pew.”

Being a Southern writer, writes Katherine Clark, is an opportunity and a burden, especially when you consider that you’re entering literary territory with nationally and internationally known explorers, such as William Faulkner, Flannery O’Conner, Eudora Welty, Tennessee Williams, James Agee, Harper Lee, and so many others.

But, as John M. Floyd points out, “Within several miles of my hometown lived men and women who were known only as Jabbo, Biddie, Pep, WeeWee, Buster, Puddin’, Doo-spat, Ham, Big ’un, Nannie, Bobo, Snooky, and Button. How could folks with those kind of names be anything but interesting?”

“Writing” is fascinating reading, and, of course, enthrallingly written as can be expected by writers writing about writing. But it’s also an encouragement for those who have thought about writing, but haven’t done it, thinking there’s some kind of secret to it.

If there is an “inside secret” to Southerners wanting to write, maybe that’s plain, as well.

The South, writes Jennifer Horne, writes itself every day, offering up “a hunter’s stew of history and hope and horror.”

It’s all around us.

As Floyd points out: “In my travels I’ve been inside bookstores all across the nation, and I have yet to see a section labeled ‘Northern Fiction.’ Maybe that, in itself, is revealing.”

* * *

Jim Ewing, a former writer and editor at the Clarion Ledger, is the author of seven books including his latest, Redefining Manhood: A Guide for Men and Those Who Love Them.

 

I’ll close with a link to my interview in the May/June issue of Oxford Magazine, which just hit the shelves in and around Oxford, Mississippi. Thanks so much to Alec Harvey for the interview.

And I’m off and running for “launch week,” as Southern Writers on Writers releases on Tuesday, May 1. I’m so honored to have events in (1) my university town, (2) my home town, and (3) my second home town (since 1988):

May 1 – 5 p.m. – Square Books/Oxford, MS – with Jim Dees, Michael Farris Smith, and Ralph Eubanks

May 2 – 5 p.m. – Lemuria/Jackson, MS – with John Floyd and Jim Dees

May 5 – 1 p.m. – Novel books/Memphis, TN – with Corey Mesler, Niles Reddick, Sally Palmer Thomason, and Claude Wilkinson

Check out my EVENTS PAGE for more events in coming months! Thanks for reading, y’all!

Media Blitz and 4 events Coming SOON!

Bookstock_posterIt’s almost May. But before we say goodbye to April, I have one final event at which I’ will be promoting CHERRY BOMB, A SECOND BLOOMING, and TANGLES AND PLAQUES:
This coming Saturday, April 28, I’ll be one of a number of local authors participating in the Memphis Public Library’s annual BOOKSTOCK. From 11 a.m. – 3 p.m. I’ll be at a table in the lobby talking to visitors about literature, reading, writing, literacy, really anything having to do with books. And I’ll have copies of my first three books for sale. The last time I did this was back in 2013, when I had two essays published in anthologies, so it’s exciting to be participating as author of several books this year.

Next week I’ll be celebrating the release of my fourth book—SOUTHERN WRITERS ON WRITING—which launches May 1 from University Press of Mississippi. Here’s the schedule of events:

May 1 (5 p.m.)—Square Books in Oxford, Mississippi. I’ll be joined by contributors Jim Dees, Michael Farris Smith, and Ralph Eubanks.

May 2 (5 p.m.)—Lemuria in Jackson, Mississippi, with John Floyd and Jim Dees.

May 5 (1 p.m.)—Novel Books in Memphis, where the panel will include Corey Mesler, Sally Palmer Thomason, Claude Wilkinson, and Niles Reddick.

BookREviewsAnd now for the upcoming media blitz! Please watch for reviews and articles in these four publications:

Chapter 16 and the Memphis Commercial Appeal will have a review, possibly this coming Sunday, April 29!

Oxford Magazine (Oxford, Mississippi) will have an interview with me in the May issue.

The Clarion Ledger (Jackson, Mississippi) will have a review this Sunday, April 29.

Southern Writers Magazine will feature my article, “Southern Writers on Writing: Editing an Anthology” in their May issue.

Fliers for all three events next week are below. Hope to see you at one of them!

Square Books flier

Lemuria flier

Novel flier

New Orleans Sketches

Susu w 2 books fr Faulkner HouseI’m in New Orleans for a few days, thanks to my husband who is speaking at the American College of Physicians’ annual meeting. I love this city, and there’s an added perk—out oldest son Jonathan lives here. Jon makes our dinner reservations (and brunch today at Commander’s Palace) and we always eat well when we’re here!

But today I’d like to write about something literary. Yesterday when I was in the Quarter, I visited Faulkner House Books—a tiny treasure trove tucked in behind St. Louis Cathedral in Jackson Square on Pirate’s Alley. I’d been here several times in the past, but not since I’ve been a published author.

When I first walked in, I was reminded of how small and yet exquisite the space is. I can’t imagine how they decide which books to carry, and I was greeted on the inside Faulkner House Booksfront table by William Faulkner’s New Orleans Sketches, published by University Press of Mississippi in 1958—when I was only 7 years old. Faulkner was a young man living in New Orleans when he wrote these “sketches” in 1925. He had primarily been writing poetry at this point, and these short pieces are a prelude to his powerful fiction, which would follow. Edited by Carvel Collins (1912-1990), one of the foremost authorities on Faulkner’s life and works, who was the first to teach a course devoted to Faulkner’s writing, at the University of Notre Dame, says in the Introduction:

Elements of Faulkner’s later techniques are in these early pieces, which also show at times his mature power, control, and confidence, even though the series is very often marred by his groping, in apprenticeship, for style and literary attitude…. In 1925 in New Orleans he had turned to fiction with full force. During the following years, by developing many of his themes, techniques, thoughts, and feelings which first appeared, often dimly, in these apprentice piece, William Faulkner published more than twenty volumes of fiction, some of them among the best to appear so far in our century.

I sat by the river watching the barges go by—wondering if any of them had gone just past our house in Harbor Town in Memphis—and soaking up the gentle warm breeze and reading. It was a magical afternoon. I love Faulkner’s Sketches. Here’s a taste from one titled “The Artist,” which read more like mini-essay than flash fiction, which most of the others resembled:

 A fire which I inherited willy-nilly, and which I must needs feed with talk and youth and the very vessel which bears the fire: the serpent which consumes its own kind, knowing that I can never gives to the world that which is crying in me to be freed…. But to create! Which among ye who have not this fire, can know this joy let it be ever so fleet?

Faulkner House signMy heart beat faster as I recognized that fire—although it came to me in the latter half of my life rather than in my youth. And I beamed with pride as I told the bookseller at Faulkner House Books about my own books, and she said she was sure they would carry Southern Writers on Writing when it comes out next month, and then she gave me an author’s discount on my purchases. We also talked about M.O. Walsh’s wonderful novel My Sunshine Away—which was on their shelves—and I told her that he had an essay in Southern Writers on Writing.

Another of my purchases was The Collected Stories of Eudora Welty, published in 1980. Of course I had read a number of her short stories over the years, but with my current work-in-progress—Friends of the Library, a collection of short stories—I am now reading them through a different lens. And I was very interested in her words in the Preface:

In general, my stories as they’ve come along have reflected their own present time, beginning with the Depression in which I began; they came out of my response to it. The two written in the changing sixties reflect the unease, the ambiguities, the sickness and desperation of those days in Mississippi…. They, like the others, are stories written from within. They come from living here…. What I do in writing of any characters it to try to enter into the mind, heart, and skin of a human being who is not myself. Whether this happens to be a man or a woman, old or young with skin black or white, the primary challenge lies in making the jump itself. It is the act of a writer’s imagination that I set most high.

I can’t wait to immerse myself in some of those stories as I continue revising my own collection of stories, hoping to in some small way emulate her approach, as I know I can never come close to her genius and style. Or to Faulkner’s. But wow what wonderful treasures to have as my Mississippi forebears in the fiction world.

Emma Connolly and me on the porch of her wonderful shop on Magazine Street

Emma Connolly and me on the porch of her wonderful shop on Magazine Street

Other “sketches” of my New Orleans visit include a wonderful visit with my friend Emma Connolly, who moved here from Memphis a few years ago to open Uptown Needle and Craft Works—her own sewing shop on Magazine Street. Emma is also a writer, and contributed an essay to the first anthology I edited, A Second Blooming: Becoming the Women We Are Meant to Be. (She was one of the women who inspired the book, actually.)

Patsy, Emma, and me on the porch at Uptown Needle and Craft Works

Patsy, Emma, and me on the porch at Uptown Needle and Craft Works

And lunch with our mutual friend Patsy Davenport, at the wonderful French Laundry Bakery, right next door to Emma’s shop. Patsy and I have been Facebook friends for a while, and it was great to finally meet her in person. Retired from a career with McGraw Hill, she turned 70 recently and is on a mission to visit 70 bookstores in one year. She’s over half-way there!

shopWe’re headed back to Memphis tomorrow, but my heart and belly are full of the delicious treats this city offered me, and my creative juices are flowing as I return to work revising my short story collection… with help from Faulkner and Welty.

I’ll close with a few pictoral “sketches” of New Orleans… enjoy!

by side door of an abandoned church on Magazine Street

by side door of an abandoned church on Magazine Street

artist

In town for Fleet Week...

In town for Fleet Week…

NOLA treehouse

The Scrap House Memorial to Hurricane Katrina… a few blocks from our hotel in the warehouse district…

My Exaggerated Life: Pat Conroy—Q & A with author Katherine Clark

myexaggeratedI just finished reading the oral biography, My Exaggerated Life: Pat Conroy, as told to Katherine Clark. I was interested in the book for two reasons:

First of all, Pat Conroy was my favorite fiction writer of all time, and The Prince of Tides is my favorite novel. I’ve read all of his books, and was fortunate to meet him back in 2010. He was larger than life, humble, gregarious, and generous. And because of the abuse he suffered throughout his childhood, and later as a cadet at The Citadel, he understood its lifelong affects, and the therapy that writing provides.

Secondly, I read Katherine Clark’s debut novel, The Headmaster’s Darlings, a couple of years ago, and was so impressed with her prose. (Read my blog post from June of 2016.) I’m honored to have her contribute an essay to the collection I edited, Southern Writers on headmastercoverWriting, coming out May 1 from University Press of Mississippi. So I knew this was a book I had to read. And it did not disappoint. Her characters jumped off the page and her prose was elegant. Here’s an interview she did about the novel with Patti Callahan Henry for Deep South Magazine, in September 2015.

I haven’t read the other novels in what is known as the Mountain Brook series, but they are on my “to read” list! Allen Mendenhall interviewed Katherine for Southern Literary Review, May 2017, for her novel The Harvard Bride, which was the third in the Mountain Brook Series.
But back to My Exaggerated Life. Much of what I loved about the book was Pat’s wonderful advice to writers. This piece really spoke to me:

The one thing you have to avoid when you’re writing is being afraid, because everybody makes you afraid. The critics will make you afraid. Your professors will make you afraid. The writers who teach you will make you afraid. Your friends will make you afraid. Your parents make you afraid. Society makes you afraid. Everybody has ways of putting you down as a writer. ‘Were you on the best-seller list? How many did you sell? Did you make lots of money?’ So everything is working against writers fully letting themselves flower unto themselves.

Like Pat, I was sexually abused as a child and young adult, so I was very interested in what he had to say about how the abuse he suffered in childhood and later as a cadet at The Citadel affected him. And how the abuse affected his writing and how writing helped him heal:

Writers like me have chosen a life of agony. Whatever it is we get out of ourselves, whatever poisons spill out of us, you’ll see the results when they’re published…. Fiction is the most agonizing because fiction is us. Nonfiction is the other. Fiction is an absolute reflection of what we have going on inside of us, or what we do not have.

Pat and Katherine

 

Let’s see what Katherine Clark has to say about this book, with a short interview. She agreed to answer three questions for me:

Susan: I understand that My Exaggerated Life is the third oral biography you published. Can you tell us a bit about the genre, and how it differs from a biography or memoir? And how did you get interested in doing oral biographies?

Katherine: Oral biography is an interesting genre because it offers a narrative that no one has actually written.  In the case of MY EXAGGERATED LIFE, Pat Conroy did not write this memoir, nor did I write his biography.  Instead, I recorded about 200 hours of conversation on the phone with him, had these recordings professionally transcribed, and then edited the transcripts into the narrative that forms the book.  So it is comprised solely of Pat’s spoken words.  It’s a great genre for capturing the genius of a true raconteur, and Pat was as great a raconteur as he was a writer.  I first learned about this genre in college, when I read a book called All God’s Dangers, by Theodore Rosengarten, who recorded an illiterate black sharecropper in Alabama whose brilliant stories illuminated a crucial chunk of Southern history.

Susan: What was the editing process like, once you had recorded so many hours of conversations with Pat? How much of what we read in the book is verbatim what Pat said and how much is edited, if that’s even possible to say?

Katherine: Editing the material Pat Conroy gave me was a privilege and a pleasure.  For one thing, it’s always a great learning opportunity to work so closely with the words of a master storyteller.  My job as an editor was to organize and structure the material into a coherent and compelling narrative, but the words are all Pat’s.  For example, the opening sentences of the book can be found in an interview I did with Pat several months after I started recording him.  The words are his, but I was the one who chose for them to become the opening lines.

Susan: I know that Pat died before he had a chance to read the final version, but you mention that his wife, Cassandra King, read it before it went to press, right? Can you tell us a bit about her reaction, which you refer to in the book? What about Bernie’s reaction (which you don’t refer to)? I met Bernie at a book signing Cassandra and I did in Beaufort last May, and I could immediately see why he and Pat were such good friends.

Katherine: Pat’s wife Cassandra did a heroic job of reading my manuscript the month after Pat died.  At the time, she told me it was painful to read, because it sounded “just like Pat,” and was a difficult reminder of her loss.  But at least this was a sign that my book had succeeded in its mission of capturing Pat’s voice.  Sandra was a tremendous help to me in revising the manuscript, because I’d counted on Pat’s help to perfect it.  She and I had ongoing discussions over many months, and during the course of these, she freely shared her opinions about which stories she was glad Pat had told me, and which ones she wished he had not.  But she always had complete respect for my prerogative as editor to make the final decisions.  I am lucky to be able to call her both colleague and friend.

I’m so grateful to Katherine for writing this incredible book, and for taking time for this short interview. This is a MUST READ for lovers of all things Pat Conroy, and just good southern literature.

If you’re looking for a great writing conference to attend this summer, Katherine will be on a panel with me at the Alabama Writer’s Conclave’s Summer Conference in Orange Beach, Alabama, June 15-17, for SOUTHERN WRITERS ON WRITING, and she will be leading a workshop titled, “The Pleasures and Perils of Editing Oral Biographies.” I’ll be there sitting on the front row, wanting to learn more!

National Library Week and Take Action for Libraries Day!

Library-Week-This week marks the 60th year that America has celebrated NATIONAL LIBRARY WEEK. Back in the 1950s, Americans (like ME!) were spending more time watching television than reading, so in 1958 the first National Library Week was observed with the theme “Wake Up and Read!”

MOBILE

 

I’m sure I wasn’t aware of this observance, but I do remember the Bookmobile coming to our neighborhood in the summer, when I was reading the Nancy Drew books. (Yesterday was “National Bookmobile Day.”)

 TODAY is actually “Take Action for Libraries Day” and this year’s theme is “Libraries Lead.” It’s exciting to me that the Cossitt branch—which opened here in downtown Memphis in 1893— is undergoing a major renovation right now. This branch is only 5 minutes from my house, and yet I’ve never visited it. Mostly because I go to the main library, which is actually only about 15 minutes away.

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I am celebrating libraries all during the month of April, not just this week. I’m doing this in three ways:

Friends of the Library coverFirst of all, I  just finished drafting my short story collection, FRIENDS OF THE LIBRARY, inspired by my visits to speak to library groups in eight small towns in Mississippi. These groups are alive and well and draw large numbers of serious readers. I have sent the manuscript to several author-friends who have published short story collections. While I’m waiting for their feedback, I’m writing a synopsis and a query letter template, and building a list of literary agents to query who are seeking short story collections. My list is up to 24 agents now, which is pretty good for such a specific market. Can’t wait to do revisions on the collection and start looking for representation! (The cover mock-up is just me playing around with a photo I took near the library in Aberdeen, Mississippi. The house in the background inspired one of the stories.)

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On April 28—just two weeks from this Saturday—I’ll be a participating author at  Bookstock 2018, which features several keynote speakers and over 40 local and regional authors. It’s a great time for families to bring their kids for kid-friendly activities, enjoy some local food trucks, listen to speakers, and pick up signed copies of books from local authors. Or just chat with us—can’t wait to meet you!

to-the-stars-through-difficultiesI’m reading a wonderful book about a brave group of women who are inspired by their foremothers—who built fifty-nine Carnegie libraries in Kansas a century ago—to forge ahead and create a cultural center on the Plains, in spite of widespread devastation from a recent tornado, opposition from their husbands, and attacks from the Religious Righteous. TO THE STARS THROUGH DIFFICULTIES is told through the fictional voices of Angelina Traci, and Gayle, but the story is full of important historical moments in library history. I met the author, Romalyn Tilghman, in January, where we were both presenters at the Pulpwood Queens annual Girlfriend Weekend. This is a Foreword Indies Finalist and a  MUST READ for anyone who loves libraries, and reading.

So… please support your local library this week, and always! And happy National Library week to librarians and library patrons everywhere!

Two Writing Conferences this Summer: I’m Leading Three Workshops and Moderating Two Panels

I’m so excited to be leading three workshops and two panels at two writer’s conferences this summer:

Alabama Writer’s Conclave, June 15-17, Orange Beach, Alabama

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This will be my first year at this wonderful writer’s conference on the beautiful Alabama Gulf Coast, and I’m thrilled to be leading a workshop and participating on a panel.

On Saturday, June 16, from 8:30 – 9:30 AM:

Session 2 (Workshop)

Susan Cushman: “Working with Editors in Memoirs, Novels, and Anthologies”

As a writer, Susan Cushman has edited two anthologies, contributed essays to four anthologies, and has published a memoir and a novel. In this workshop, she will discuss how to work with editors in all of these genres.

And on Sunday, June 17, from 9:45 – 10:45 AM:

Panel

Southern Writers on Writing: Susan Cushman, Wendy Reed, Katherine Clark, and Jennifer Horne

Thirteen authors will serve as faculty for this event, which will include sessions on poetry, humor, science and nature writing, mysteries, anthologies, getting an agent, getting published without an agent, writing query letters, editing oral biographies, and important elements in the crafts of creative nonfiction and fiction.

Register here.

 

AND IN JULY:

Mississippi Writer’s Guild Conference, July 27-28, Meridian, Mississippi. (At the MAX: Mississippi Arts & Entertainment Experience, OPENING APRIL 28!)

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I’m so excited to be returning to my mother’s hometown—where I lived briefly when I was three years old—for this, the twelfth annual conference of the Mississippi Writer’s Guild. How fitting that I attended their first conference, in August of 2007, where I met several people with whom I am still friends today, including the novelist Joshilyn Jackson (who encouraged me to start this blog), the prolific short story author John Floyd, the very creative writer and artist Keetha DePriest Mosley, the amazing storyteller and actress Rebecca Jernigan, the multi-talented writer, musician, and radio show hostess Richelle Putnam, and the author C. Hope Clark, who will be speaking again at this year’s conference.

The two workshops I will be leading at the conference are:

Using Scenes to Write Memoir (in Books and Essays)

Memoirist, essayist, novelist, and anthology editor Susan Cushman will lead students through exercises to discover the importance of using SCENES to tell their stories—or the stories of others—in both memoir and essays. Using samples from published memoirs and essays, she will show how these scenes move the narrative forward, “showing” rather than “telling” the story. Students will then do a short writing exercise using this technique.

Four Book Deals in One Year: How to Get Published Without an Agent

Novelist, memoirist, and anthology editor Susan Cushman published three books in 2017 and one in 2018. She got all four book deals in one year, without the help of a literary agent. Susan will share her experience working with an agent, and explain why she ended that partnership. Learn how to find small, independent, and university presses to publish your work, and what the experience of working with these presses and their editors is like.

I will also be moderating the Panel of Speakers. We will entertain questions about anything having to do with writing, editing, publishing, and marketing. This year’s panel of speakers and workshop leaders includes:

Sue B. Walker—poet, author, and editor

Chandler Griffin—documentary filmmaker and educator

C. Hope Clark—mystery writer and manager of Funds for Writers

Dr. Alan N. Brown—folklorist and author of over 25 books on the oral ghost narratives of the South

G. Mark LaFrancis—film-maker, film instructor, and producer

Whether you’re a published author wanting to improve your craft and learn more about the industry, or a new writer just getting started, there’s something for everyone at this year’s conference.

Register here.

Small Mississippi Towns and the Characters That (Might) Live There!

John Floyd's latest short story collection, THE BARRENS, coming in October!

John Floyd’s latest short story collection, THE BARRENS, coming in October!

Eleven years ago this August I went to the first Mississippi Writers Guild Conference in Clinton, Mississippi. It was pivotal for me in several ways—especially meeting Joshilyn Jackson, who inspired me to start a blog (√) and write a novel (√). I also met prolific short story author John Floyd, who critiqued the story I turned in ahead of time, “The Yellow Rose of Texas.” It was pretty awful, but he was kind and gentle with my soul in his critique. What I learned from the experience was that I just wasn’t in love with the genre. I liked the length—the average popular short story is 3500 words—but I preferred nonfiction if I was going to write short form. I went on to publish essays in a dozen or more journals and magazines and four anthologies. And then I edited two anthologies. It was so much fun putting together these collections of 20 and 26 essays by other writers.

atwtm_cover_FINAL-e1420661990558For fiction, I preferred novels. I rarely even read short stories, except for Flannery O’Conner. And then two of my friends published collections of short stories. Suzanne Hudson—who got first place in a Penthouse Magazine short story contest when she was young—came out with All the Way to Memphis in April of 2014, which I loved. These stories are southern to their core, border on gothic, and deal with abusive family members and other issues that dive into the human psyche and land in the heart. When I read them a few years ago, I mused—if only for a moment—on whether or not I could write short stories.

Wildflower.jpgThree months later my friend Jennifer Horne, who happens to be the Poet Laureate of Alabama, published a collection of “linked” short stories, Tell the World You’re a Wildflower. Jennifer already had published several volumes of poetry and had edited three anthologies, so this was a new genre for her, too. Jennifer’s stories encompass plastic surgery and white supremacists, family secrets and family trees, the United Daughters of the Confederacy and a young writer who describes her work in progress as “the bastard love-child of William Faulkner and Alice Walker.” Like Suzanne’s work, these felt like mini-novels, and I loved them.

So here I am, four years later, trying my hand at writing a collection of linked short stories! FRIENDS OF THE LIBRARY was inspired by my visits to libraries in eight small towns in Mississippi (seven of those visits in 2017 and one this year) to speak to the Friends of the Library groups. I spoke to seven groups about my novel CHERRY BOMB, and to one group about my memoir TANGLES AND PLAQUES: A MOTHER AND DAUGHTER FACE ALZHEIMER’S. These road trips into rural areas and small towns of my home state made an impression on me in ways I wasn’t expecting. I read the histories of each town, took in the landscape, and loved meeting the people, who ultimately inspired the characters in my short story collection, although my stories and the characters are completely fictional.

Aberdeen, Mississippi

Aberdeen, Mississippi

I’ve finished drafting seven of the stories, and I’m up to 34,267 words. And here’s the fun part. I’ve heard lots of writers say that when they are writing, their characters “take on a life of their own” and that they don’t know what they’re going to do next. They talk as if they’re just writing down what they see happening, rather than controlling the plot. I always rolled my eyes when I heard them say things like that. (Queue Twilight Zone music, right?) But guess what? That’s exactly what’s happening as I draft these stories! I did create a rough one-paragraph description of each of the stories before I started writing, but the characters’ lives are, indeed, taking off in all sorts of directions I wasn’t expecting. I’ve never had so much fun writing!

But just because I’m having fun doesn’t mean the stories are funny. They are heavy-hitting, dealing with Alzheimer’s, alcohol, cancer, domestic abuse, adoption, race, homelessness, childhood sexual abuse, and eating disorders. So far. (My final two stories might deal with suicide and/or schizophrenia, and one might even include a kidnapping.) The towns I visited, where the stories are set, include Eupora, West Point, Aberdeen, Starkville, Southaven, Oxford, Senatobia, and Pontotoc. It’s interesting, when I look at a map, that none of the towns are in the Mississippi Delta or the Mississippi Gulf Coast, where I have given readings at bookstores but haven’t visited libraries. That might be something to explore in the future.

I’m off to Pontotoc—in my mind—to finish the story I set there. I can’t wait to see what Robert Earl does next. I’m just trying to keep up!

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