New Books in Literature

Every poet has their obsessions and for James Franco they are childhood, gender, sex, innocence, and the work place he knows best: the film industry. Within these poetic frames we’re introduced to various voices, landscapes nearly worn out with elegy, and a repertoire of imagery that is both tender and violent. Franco is our poet of earnest grotesquerie, favoring clarity to vagueness as he depicts the bizarre zones of early experience that crash against poems of adulthood that occupy spaces most readers do not have access to: film and celebrity. However, Franco’s poems seem to argue that a kinship exists between the world of the adolescent and the world of a movie set. In his poems, we see the intersection of both and the distinctions between sincerity and artifice are blurred and complicated by a speaker who seems simultaneously anchored in both of these perceptual districts. In addition to Franco’s fidelity to the bramble of childhood memory and glittering industrial complex of show business, his poems are deceptively musical, employing internal rhymes and capturing the tiny voltage of music inside every syllable, creating a sonic landscape one might miss if you don’t read the poems aloud. When the book Directing Herbert White (Graywolf Press, 2014) was first published, it made a big splash in the otherwise small pond of the poetry world, and it reminded me of what Franco does best: challenges society’s notions of the artist and the dynamic – and at times rigid communities – they inhabit. During out chat we talk about the relationship between childhood and violence, the creative writing workshop as a site of instruction, his various poetic influences, and so much more. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

J. Robert Lennon is a novelist, actually–better known for his longer work (Mailman, Familiar, Happyland). His most recent book, though, collects his short stories from the past 15 years: See You In Paradise (Graywolf Press, 2014): shorter glimpses into smaller headspaces, offshoots: sundries and etcetera from over a decade of writing fiction. This is sort of a long time, if you think about it. In point of fact, the oldest story in this collection was written circa ’99, maybe 2000. It was typed in amber text on a machine running DOS, in the art museum where its author had been working his first job out of grad school. (It’s “The Accursed Items,” by the way, if you were wondering, like I was.) Of course, Lennon is a slightly different person from the person he was then. At the museum, he had been rethinking himself as a writer (and a student of writing) outside his big graduate workshop; he’d have to assign his own assignments (in “a school of one”). At the time of our interview, he was a tired professor after finals, with students and workshops of his own. But do the stories read like they were written by different people? Here’s what I think I’ll say: the stories and characters in this collection certainly exhibit variation (maybe from their longer history, and maybe not); and yet throughout, it feels like there’s a substantial through-line in their tone and perspective and what-is-normal-to-us-as-we-share-this-experience. There is, put in another way, a sense of the same ubiety the jacket copy calls “Lennon’s America” in his albeit varying characters, with their own, idiosyncratic movements through time. And if you were wondering what Lennon’s America is like, I’ll tell you: it’s intriguing. And it’s pretty funny, too. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In Lady of the Moon (Headmistress Press, 2015), the reader is graced not only with the poetry of Amy Lowell, but with sonnets in response and a scholarly essay on the poet’s life, love, and work. Amy Lowell lived and wrote in a time when she could not be entirely herself, could not fully claim her rightful space among the great writers of love poetry and celebrations of the beloved. She had to reveal her truths by hiding them. As much as she cloaked her work, shifted genders of speaker and beloved, the truth of the poems resonate now as unabashed declarations of love and desire for her partner, Ada Russel. This collection places the relationship with Russel at the forefront in such a way that it honors what could not be honored before. But this is true of most of the work published by Headmistress Press: necessary voices are given the mic before it is too late, a safe space is offered for rumination on gender, sexuality, and all spectrums of identification, and the work of poets like Amy Lowell is given the truthful and critical analysis it deserved while the poet was living. We know that Amy Lowell wanted to be understood better as a poet. She did not want to hide her love, her body, or her desires but knew that it would only be safe to be fully realized after her death. She left the door open for us, as readers. You will sit here, some quiet Summer night, Listening to the puffing trains, But you will not be lonely, For these things are a part of me. And my love will go on speaking to you Through the chairs, and the tables, and the pictures, As it does now through my voice, And the quick, necessary touch of my hand. (From “Penumbra” by Amy Lowell) As scholars and poets, Mary and Lillian came together to create this homage not only to Amy Lowell but to her long-time relationship with Ada Russel. So much care was paid to this union that it is Ada’s photo that graces the cover. In Mary’s 27 response sonnets, the reader is offered an opportunity to have the veil lifted somewhat– maybe even to afford Lowell the transparency she craved. Who among us does not want to celebrate our love for another person? Who does not want to jump up, yell it from the rooftops? Maybe Lowell trusted that her poetry memorialized their relationship and that her declarations of love would truly be understood long after she and Russel were gone from the physical world. And even in the daylight sky, your streams Of light show through the ruling blue, and give, Making the world more hopeful than it seems. Inside my lines, your love and beauty live, Etched in my books, with nothing to forgive Or be forgiven for, an ancient light That lasts forever. You should know, I give My fortune, house, and heart, to keep you bright When I am gone. (From “Sonnet 27” by Mary Meriam) For any who wished to understand more about Amy Lowell and her work, who felt the gaping holes in the teaching of her writing and life, should pick up this collection. The poet is honored by showing plainly her reverence and desire for Ada Russel. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

The reverberations of Henry VIII’s tumultuous reign continued to echo long after the monarch’s death. England teetered into Protestantism, then veered back into Catholicism before settling into an uneasy peace with the ascension of Elizabeth I. But for the survivors of the first two shifts, the approaching death of Mary Tudor in 1558 created great anxiety. No one knew, then, that Elizabeth would choose a path of compromise and (relative) tolerance. And Mary’s public burnings of Protestants gave much cause for concern that her sister might follow the same path with any Catholics who refused to recant. Cade Badgley has served Mary well, even enduring imprisonment abroad for her sake. When he returns to England to discover his queen seriously ill and his own future changed by the death of his father and older brother, he has little choice but to manage the earldom dumped on his shoulders. But maintaining a crumbling estate without staff or money to hire them demands more resources than Cade can amass on his own. He turns to his nearest neighbor, who is happy to help–if Cade will return to the very court he has just abandoned, with the neighbor’s daughter in tow. Marrying off a lovely heiress will not strain Cade’s abilities much, but keeping her from pitchforking them both into trouble with her impetuosity proves a far more difficult task. As the weeks pass, Queen Mary’s health worsens, and the future of England’s Catholics becomes ever more tenuous, the court is the last place that Cade wants to be. In Some Rise by Sin (Five Directions Press, 2015), Courtney J. Hall neatly juggles politics, history, art, and romance during England’s brief Counter-Reformation, a moment when the Elizabethan Age had not yet begun. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Dynamite (Bull City Press, 2015) is transit distilled. Anders Carlson-Wee‘s poems employ movement as mechanism and movement as reverence in a journey that most dream of making yet few ever do. On a cross-country train trip, brothers Kai and Anders armed themselves with a video camera, a secret language of bird calls, and minds tuned to verse. Watch the coal-dust cook in the wind-eddies. Watch it linger. Watch it spiral thinly as it bruises the blue-faded mind of the buffalo sky. We must be the pupil that swells in the coming darkness. The cargo worth carrying across the distances. There is not a single moment where it is safe to pull yourself from the collection, not a moment to disengage with shifting landscape, memory, and the ruthless bonds of family. This chapbook will make you want to write and remind you of when this country was experienced viscerally, when we refused the lure of complacent stasis and chased pure adventure. Watch their video here and wish them well at the Nappa Valley Film Festival next month: “Riding the Highline.” Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

At a time when science fiction is more likely to portray ecosystems collapsing rather than flourishing, Jane Lindskold‘s Artemis series is an anomaly. Its eponymous planet is not an ecological disaster but rather full of so many wonders that it was once a vacation paradise for a now vanished society. Of course, like any good science fiction (or fiction, in general, for that matter) Lindskold’s Artemis is full of surprises. But Lindskold takes care not to bludgeon readers with messages about the dangers of science run amok or human interference in nature. “I thought it was completely possible to tell a story without lecturing people,” she says in her New Books interview. “I wanted to put together an exotic and interesting world and let people go adventuring on it with me and if along the way they figured out that ecosystems don’t work if they’re exploited, great but I’m not going to write lectures.” Artemis is a genuine character in the story, one with an evolving consciousness that communicates regularly with one of the main characters. Lindskold has been frustrated that some reviewers have mistaken Artemis for an artificial intelligence when, in fact, she’s a highly complex network made out of various forms of fungi. As Lindskold puts it, “Artemis is a living organism that happens to have a planet-sized body.” Artemis Invaded, published in June, is the second book set on Artemis. The first, Artemis Awakening, came out in 2014. Whether there will be a third remains to be seen, but Lindskold is full of ideas if she gets a green light from the publisher. “I think a lot about the people on Artemis and what they are doing and would be doing, and I would find it very easy to pick up again. And one thing I’ve promised myself I would do is if there was a delay between the publication of Book Two and Book Three is that I would write some short stories so that the readership would have something in between.” 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

Ryan Ridge‘s American Homes (University of Michigan Press, 2014) is at odds with category: it doesn’t really fit neatly, or even at all, into any preconceived notion of what prose fiction should read like, or effect in the reader. Ridge’s novella-length work is something more like a Lonely Planet travel guide, or the recovered fragments of some distant, arcane encyclopedia. But even Ridge isn’t quite sure what it is. It just is. American Homes. It starts at Part III and moves through a prose-schematic of domestic spaces: walls, windows, attics, blinds, roofs, porches, chimneys, doors. American Homesoffers ontological conundra (“A Door is not a Door when Ajar.”) It offers sage statistical insights (the Front Door “…accumulates more Annual Knuckle Precipitation than both the Back Door and Side Door combined.”) It offers its own literary criticism, of itself (“The Porch Swing is a Post-Cynical literary device… It is also the symbol of freedom in the book American Homes.”) But maybe “What category?” is the wrong question. Updike wrote, and was later quoted by Ryan Ridge in his book, American Homes: “What art offers is space.” And what Ryan Ridge does with the spaces his art allows him to explore, and substantiate, is unexpected, bright, and often, funny. What you slowly begin to suspect as you read, is that American homes are not just American homes. As for the book, American Homes, there is at least what Ridge himself defines it as. “American Homes is targeted at affluent women with a flair for the unconventional. American Homes is aimed at men who are comfortable with their feelings about their feelings. American Homes is feeling much better. American Homes is never worse. American Homes is an obstacle course. American Homes is between shopping centers and the skeletons of factories. American Homes is distinctly American.” Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

What do the jobs of opera singer, lawyer and science fiction writer have in common? Answer: Melinda Snodgrass. The author of the just published Edge of Dawn‘s first ambition was to sing opera. But after studying opera in Vienna, she came to the conclusion that “I had a nice voice, [but] I didn’t have a world-class voice.” She then went to law school and worked for several years as a lawyer. Unfortunately, “I loved the law but I didn’t love lawyers,” she explains on New Books in Science Fiction and Fantasy. Her first published books were romance novels, which taught her the “extremely valuable lesson of how to finish what you start. Because that actually is a real problem for people. They’ll have brilliant ideas and write the first three chapters and they’ll never finish.” Her first science fiction novels, the Circuit Trilogy, drew on her knowledge of the law as she chronicled the adventures of a federal court judge riding circuit in the solar system. She also collaborated with George R.R. Martin to create the shared world series Wild Cards. It was Martin who encouraged her to write a spec script for Star Trek: The Next Generation. That spec script, inspired by the Dred Scott decision, turned into the episode The Measure of a Man, and a job as story editor for the series. Her newest contribution to science fiction is Edge of Dawn, the third book in the saga of Richard Oort, who leads a team seeking to destroy beings from an alternate dimension that use religion to create strife on earth. The trilogy is in large part a battle between science and religion. “Science is all about doubt. It’s about saying, ‘is this real and how can I test it?’ … Religion is about the opposite thing entirely. It’s about faith and acceptance of it without questioning, and I think that that can lead to very dangerous results and outcomes,” Snodgrass says. The idea for the series came to her New Year’s Eve in 1999. “I thought to myself, why on the dawn of the 21st century are people putting more faith in guardian angels and crystal healing power and tarot card readings than they are in medicine and chemistry and science? … Why are we seemingly going backwards and becoming more superstitious?” she says. “I cooked up this idea about these creatures encouraging us to believe in fairytales and to fear each other and hate each other on the basis of externalities like the color of our skin, or gender, religion all these different things.” 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

In her first novel, The Lovers and the Leavers (Fourth Estate, 2015), Abeer Hoque undertakes a literary challenge that I suspect even the most seasoned writer would find daunting: how do you tell the stories of those people, old and young, cosmopolitan and rural, living throughout the world in the South Asian diaspora? She meets this challenge through a series of interconnected stories, in which the links among characters emerge subtly but inextricably, a web of family ties that reaches from Bangladesh and India around the globe. Moreover, she captures these stories not only in prose, but also in poetry and photography, making The Lovers and the Leavers a multimedia, multi-genre experience. It’s an ambitious undertaking, spirited and subtle. Yet for all of Hoque’s impressive artistry, she seeks very recognizable ends: to give us a vivid sense of place as rich as the people who inhabit it and to render the inner lives of those people, to let us feel their passions and their pains–those that mark them and make them sometimes beautiful, sometimes broken, but always always compelling. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

For his second novel, James L. Cambias chose one of the most challenging settings for a science fiction writer: the near future. Unlike speculative fiction that leaps centuries or millennia ahead or takes place on other planets, a book about the near future presents a world that varies only incrementally from the present. The risk, of course, is that the author’s vision will all-too-quickly be proven wrong. In his New Books interview, Cambias explains why he was drawn to the near future and how he navigated those tricky shoals in the writing of Corsair (Tor Books, 2015), which follows space pirates as they hunt and plunder treasure (hydrogen mined on the moon) using remote-controlled spacecraft. Cambias is certain that space piracy will come to pass. “I absolutely expect that some point that space piracy or space hacking… will become a criminal enterprise. Space hardware is just too valuable,” he says. Cambias also discusses the Hieroglyph Project, which is trying to get science fiction authors to write the kind of visionary fiction that has the capacity to spark brick-and-mortar innovation. Cambias contributed to the project’s collection of short stories but also penned a series of blog posts in which he declares the project a “failure.” Related links: * This is Cambias’ second appearance on New Books in Science Fiction and Fantasy. His first interview, about his book A Darkling Sea, is available here. * An episode of New Books was also devoted to the Hieroglyph Project. 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