" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" Tillie’s grit and ability to face life’s challenges are inspiring, the seeds for later discovering her artist self. Tillie takes readers on a wild ride. Join her if you dare! "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
"Fling! is both hilarious and touching. Every page is a surprise, and the characters! I especially loved Bubbles, one of the most endearing mothers in recent fiction. A scintillating read."
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" These fascinating characters will fill your imagination, defying expectations about aging, art, and what truly matters in life. "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" Indicative of the title, the poems in All This range from the conventional lyric/narrative that captures an intense moment of emotion, an epiphany glimpsed briefly out of the corner of the eye, to the more experimental. "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
" A wildly inventive, consistently engaging, and amusing comic novel, but under its bright exterior lurk darker undertones and truths.... "
Each finely crafted poem in this powerful collection comes alive on the page while she traces the days’ journeys with a painter’s eye, a musician’s ear, and the deft pen of a poet.
Those of us who write undergo a personal odyssey each time we pick up our pens or apply fingers to a computer. We also participate in discovering the origins of fiction. But what starts us out on these explorations of other’s lives? Continue reading “Writers as Shape Shifters!”
As a humanities major, I had read most of the ancient Greek writers’ major works: Homer, Herodotus, Thucydides, Aeschylus, Sophocles, Aristophanes, Euripides, Sappho, Solon, Plato, Aristotle, Hesiod, Pindar, and many others. But Richard Jenkyns’ 
has not only reintroduced these major figures to me, but he has also revealed how complex their work was.
It’s still amazing to read how profound they were at such an early point in western history. They were laying a foundation for what followed, functioning as guides into the complexities of philosophy, history, drama, poetry, and even the novel. Contemporary writers who haven’t read their work are incomplete without it.
Jenkyns, Emeritus Professor of the Classical Tradition and the Public Orator at the University of Oxford, has a fine ear for what sings in these early writers, his own prose clear and lilting. In this example, Jenkyns is reflecting on the Odyssey:
In the Odyssey poets are honoured but subordinate people who perform in the halls of chieftains, a picture which surely reflects a historical reality. It was a remarkable idea to give the greatest warrior imagination and sensitivity. The poetry of his mind comes out in two strange similes that he uses. In his most furious speech he likens himself to a bird collecting morsels for her young and going hungry herself—an odd image, and for all his passion almost a humorous one. Later, talking to Patroclus, he compares him to a little girl running alongside her mother and tugging her dress until the mother picks her up; that simile is teasing and affectionate, but also self-aware, for Achilles recognizes that he is going to give in to his friend’s request. And both times this supreme example of masculinity has the quirkiness to compare himself to a female. No one else in the poem talks like this. (page 9)
And no other classicist that I’m aware of has made this observation, setting up Achilles as a very different tragic hero, one who isn’t afraid of having feminine qualities as well as his obvious masculine ones. Jenkyns’ ability to see these works freshly opens them up in new ways, offering thoughtful, nuanced interpretations.
We moderns think we have progressed, leaving behind our forefathers/mothers. But just as with our biological parents, our belief that we have surpassed them (and sometimes we have) prevents us from really appreciating their gifts. So, too, with our culture’s classical period. As a novelist, I was amazed to discover that while the 18th Century witnessed the rise of the novel as we know it, there were earlier writers already exploring that form. The Golden Ass by Apuleius is the only ancient Roman novel (AD 125) to survive in its entirety, a precursor to the episodic picaresque genre. It contains several different narrators and stories, including Cupid and Psyche’s tale. Jenkyns translates what he believes to be “the most sheerly beautiful sentences ever written in Latin prose:
She sees the festive tresses of his golden head drunken with ambrosia, the clusters of ringlets that roam over his milky neck and rosy cheeks beauteously trammeled, some hanging a little before, some hanging a little behind, at whose excess of brilliance, flashing like lightening, the very light of the lamp wavered. Along the shoulders of the flying god dewy feathers glisten, their flowers sparkling, and although his wings are settling to rest, the ends of the featherlets, tender and delicate, wanton restlessly in tremulous dance. (p. 240)
It is gorgeous writing, and magical realism exists even then, each sentence swollen with those qualities that lift the reader from the mundane to the sublime. The ringlets come across as in motion, and this god has flowering feathers that end in the featherlets “tremulous dance.” The passage is a tour de force.
My comments here offer only a slice of what this study covers. I hope you gentle readers and writers will make time to read this inspiring work. It seems important in this tumultuous era to be grounded in material that still sings to us of what it means to be human. And it’s uplifting to be reminded that the ancients set us off on such a prolific path.
Though I already experienced what it was like to publish a book when my poetry collection All This came out in 2011, each work offers its own peculiarities. Partly it’s the difference in publisher, so I have to learn what Fling’s producer wants of me. But it’s also the difference in genre. Fiction is another animal. While poetry has a more limited audience base, fiction appeals to a wide range of readers. Consequently, in some ways, the novel has to be packaged differently. What ends up on the cover needs to stimulate a potential reader’s imagination and to seduce him/her into buying the book.
Preparing a manuscript to be launched is a little like getting ready for trip into outer space. We don’t know till we take the journey what to expect. So much is out of our control and dependent on who is driving the process—the publisher/editor. In a way, the actual writing is the easiest part. We’re left alone in our solitude to create a world that never existed before. But it’s the second birth midwifed by the publisher that marks it as a bona fide book.
Kimberly Pennell of Pen-L Publishing has been shepherding me through this process. She sent me a mock up for a cover this week. I expressed my reservations about it and created one of my own, trying to convey in mine that it needed to be as colorful as the characters and the settings. I also wanted it to suggest a fling, something in motion, even an odyssey. I included some text that gives a little insight into the narrative: “a madcap journey of an aging mother and her adult daughter from cold protestant Canada into the hallucinogenic heart of Mexico’s magic.” These words come from a blurb that Lewis Buzbee wrote for the back of the book.
Kimberly picked up immediately on what I was hoping for to represent my novel’s contents and returned two possible covers, each of which I loved. I had to make the difficult choice of one, but I’m hoping I might be able to use the second one at some point for another novel. With a little tweaking the cover quickly was resolved.
Next was the “teaser” for the back of the book, a brief synopsis that will intrigue someone enough that s/he will buy it. This process took several emails back and forth until we were both satisfied with the results.
And so it goes on, this birthing of a creation that depends on so many variables for it to have a successful launch.
