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Punk Rock Girl

Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys.: A MemoirViv Albertine's new memoir, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. is a book is divided almost straight down the middle. Side One is the story of her upbringing in the north London suburb of Muswell Hill: It's the mid-seventies, and the Sex Pistols are at the head of a massive, angry (or at least frustrated) cultural insurgence. Her rebellious tendencies have led her into the center of punk culture, and inspired by its outsized personalities and  confrontatonal style, she picks up a guitar, forsaking traditional training for the DIY ethos of the day. After her band with the pre-Pistols Sid Vicious (The Flowers of Romance--a possibly sardonic suggestion from Johnny Rotten) fails to launch, Albertine joins forces with The Slits, a ska-infused, all-girl outfit that, through the force of its collective will and audacity, elbows its way to the front of a stage filled with sharp, mostly male elbows. Everyone is wearing Vivenne Westwood's provocative clothing purchased from Malcolm McLaren's infamous boutique, SEX--at least as much as they could afford. Mick Jones of The Clash wanders in and out of the story, first as a gangly proto-punk spending all of his time and loose change trying to put together a band, and later as Albertine's on-again, off-again boyfriend (the classic London Calling track "Train in Vain" was inspired by her). It's a story in the best rock & roll tradition: Initiative leads. Ability chases. Success looms. Then someone bumps the turntable.

Side Two. The band has blown apart. Grownup problems ensue: education and career; marriage and kids; serious illness, divorce, and identity. The actor Vincent Gallo. Albertine moves through all of it, drawing from the same well of determination that compelled her to pick up the guitar for the first time. The two sides of the book may tell very different stories, but they share perspective and style that are both straightforward and ultimately uncompromising. If you love this music (and your library contains titles like Please Kill Me and Richard Hell's I Dreamed I Was a Very Clean Tramp), then this book is fascinating and essential. If not, it's fascinating and inspiring. It's occasionally coarse, and often terribly funny and fun.

In the spirit of the title, we asked Albertine three memorable examples of the three main themes: clothes, music, and boys.

 

Clothes, Clothes, Clothes
Your three memorable articles of clothing or outfits, where & when you wore them, where you got them, and what made them special.

My first cool outfit was by mail order, all the rage in the 1960s. It was a purple corduroy three piece suit, a fitted jacket, mini-skirt and hipster bell-bottom trousers with big belt loops. It came in pieces, so my mother had to sew it all together. Best of all there was a "Donovan" peaked cap included, like a Dylan cap, which I wore to death.

When I first went to Vivienne Westwood's shop "Sex" in 1975, I couldn’t believe that what I was thinking about and drawing at art college, someone else had thought to put onto clothes. I’d never thought of combining erotica, feminism and insurgency with items of clothing. I wore this look with my own embellishments from that day onwards and I didn’t have one peaceful journey through London for the next six years because of it.

Viv Albertine by Carolina AmbidaAs my 18-year marriage started to fall apart, because I’d started to play my Telecaster again (still a powerful weapon in the wrong hands), I began to think about how I was dressing. I had become very conventional, not wanting to be noticed, hiding away in a nice house by the coast away from London, and I had to think again about who I was, who I wanted to project with my clothes. You hear all these phrases like "mutton dressed as lamb," but I think good taste is good taste whatever age you are, and clashing prints with cuban heels now or matted hair and loads of black eye-liner back then are good taste - my version of good taste.

Music, Music, Music
Three inspiring/influential/rewarding musical experiences of your life. Bands that you’ve seen, shows that you’ve played, people you’ve met, or any other musical moment.

The first time a live show transported me was when I saw Fleetwood Mac play at a free night-time outdoor concert on a wild piece of land called Hampstead Heath near my home in North London. Everything about the evening was dark and mysterious and forbidden. Fleetwood Mac came on and played "Albatross," the guitars wailed over the tops of the black silhouetted trees, I felt like I was flying and swooping with them.

The second time has to be when I saw the Sex Pistols live at Chelsea School of Art. I was transfixed by Johnny Rotten, not because he was extraordinary, but because he was as near someone like me that I had ever seen on stage and I found that shocking, inspiring and fascinating. He couldn’t sing or play an instrument (like me), he came from North London, a poor family, below-average schooling, bad housing (all like me) and yet unlike me, he wasn’t ashamed, apologetic or embarrassed about any of this. The next day I went out and bought a Les Paul Junior and started to learn to play guitar.

Viv Albertine by Carolina AmbidaI stopped playing music for twenty five years. I felt it wasn’t an interesting medium anymore. By 2008 a couple of things had happened, the internet (making it possible to reach people without the conduit of record company men), I became healthy again and I went back to art school one day a week to explore my thoughts and feelings creatively. All this made me want to pick up the guitar and play and write songs again. Big changes in your life aren’t always about eureka moments, sometimes it’s just painfully slow, hard work and dogged determination.

Boys, Boys, Boys
Three who had a profound effect on her life, good or not so good.

The thing is, in the 1970s, ordinary girls and women were very repressed and oppressed, we had no role models, I never once met an interesting woman, in the arts or music who I could imagine being. They weren’t even in the media. The first woman who resonated with me was Yoko Ono. So I was influenced by boys. I wanted to do things boys did and I dated boys that interested me on that level. That realisation has made boys less interesting to me. What do I want or need from them now? Especially now I have my own home and a child. If it’s just about companionship, for years on end…well, that person is hard to find, male or female.

The three boys I nominate are: my first proper boyfriend, Magnus (who I still know and love, we are neighbours), he was interesting, well-read, an amazing artist, from a poor background, and I followed in his footsteps for a while to gigs and art school. I was thirteen, he was fifteen and we went out together for three years.

Viv Albertine by Carolina AmbidaNumber two has to be Mick Jones (guitarist with the Clash) who I met at art school when I was nineteen. I watched as he tried over and over again to form bands, full of passion, love of music and determination, which was very rare in a young person back then. He was also extremely intelligent, self-taught, interested in politics and all aspects of life. From him I learnt how to run a band. We are still friends and love each other too.

Number three is myself. I am the boy now. I am whole. I don’t look to a man to complete me, to inspire me, to lead me somewhere I haven’t quite got the courage to go to by myself. It’s taken fifty or so years to get here. Love and romance sure do look different from this perspective. Most relationships look a bit pathetic to me to be honest. I am questioning what two people are doing, clinging together for years and years on end, way past the relationship’s sell-by date. I would like a new paradigm to be the norm, but I haven’t figured it out yet.

Photos 1 and 2 by Carolina Ambida; photo 3 courtesy the author

Amazon Asks: Patricia Cornwell, on Her New Novel, "Flesh and Blood"

Flesh and Blood is Patricia Cornwell's twenty-second novel featuring forensic sleuth Dr. Kay Scarpetta. This time Scarpetta pursues a sharp-shooting serial sniper, and her investigation leads too close to a family member--her own flesh and blood. Flesh and Blood is an Amazon Best Mystery-Thriller of the Month.

Cornwell

Describe your new book in 10 words?

Cornwell2Scarpetta is unstoppable.

What's on your nightstand/bedside table/Kindle?

My iPhone is loaded with a huge library of Kindle titles that make it easy for me to read while traveling. Some of the latest are Charles Dickens: A Life by Claire Tomalin, A Study in Scarlet by Sir Arthur Conan Doyle, and All We Had by Annie Weatherwax.

Top 3-5 favorite books of all time?

Charles Dickens’s A Christmas Carol, Truman Capote’s In Cold Blood, Dr. Seuss’s How the Grinch Stole Christmas, William Golding’s Lord of the Flies, and Ernest Hemingway’s A Moveable Feast.

Book that changed your life, or made you want to become a writer?

Harriet Beecher Stowe's Uncle Tom's Cabin. Books can change the world and fix what is horribly broken.

What are you obsessed with or stressed about now?

The Bermuda Triangle and Jack the Ripper (not stressed, just hugely motivated).

What's your most prized/treasured literary possession?

A book about Frank Lloyd Wright's architecture that was signed by Agatha Christie (which was a gift from her to someone named "Lucy Boo." I sure wish I knew who that was).

Pen Envy -- book you wish you'd written, or character you wish you’d created?

Okay, I admit I wish I'd created Sherlock Holmes.

What's favorite method of procrastination, temptation or vice?

Playing with our bulldog.

What do you collect?

Art by Dr. Seuss and really cool belt buckles.

Best/worst piece of writing advice you ever got?

Best: Don't take no for an answer. Worst: Do something else because you'll never make a living as a writer.

~

> See all of Patricia Cornwell's books

 

Excerpts from "BOMB: The Author Interviews" - Featuring Colm Toibin, Chris Abani, Patrick McGrath, and Martin Amis

BOMB-Author-InterviewsFor more than thirty years, BOMB magazine has been pairing artists, authors, poets, and painters together for intimate artist-on-artist conversations, more than 1,200 of them so far. In BOMB: The Author Interviews, published last week by Soho Press, the magazine's editor, Betsy Sussler, has compiled an incredible collection of authors interviewing authors: an unknown Jonathan Franzen; Roberto Bolaño, just before he died; Lydia Davis and Francine Prose; Edwidge Danticat and Junot Díaz; Jennifer Egan and Heidi Juilavits; and many more.

Below are snippets from two of those conversations, featuring two authors featured on Amazon's Best Books of the Year list: Colm Tóibín (Nora Webster), in conversation with with Chris Abani (The Secret History of Las Vegas), and Martin Amis (The Zone of Interest), in conversation with Patrick McGrath (Constance).

~

CHRIS ABANI: I play with sexuality in all my books. There’s an ambiguity to all my characters. In The Virgin of Flames, the protagonist wants to be a woman. I write my characters from the inside out. There’s no spectacle to it, so of course the first question is, Where is your body in relationship to this text? That always fascinates me. Before I wrote this book about this guy who wants to be a woman—I had always prided myself on, while being straight, being not homophobic at all. Until I wrote a scene where the character is finally about to make love to a transsexual stripper but realizes that that’s not what he wants. In fact, he wants to occupy the stripper’s position. And you have that whole Crying Game moment, but instead of the penis revelation being the thing, it’s the penis disappearance. So this transsexual stripper is teaching this guy how to disappear his penis, so that he could wear a G-string were he to perform as a stripper. I researched it on the Internet. My girlfriend at the time read what I had written and said, “This reads like a manual.” The rest of the book was beautiful but then it’s, “Okay, over here we have the penis.” I really had to go there, so I hired someone who performs as a woman. I said, “Okay, show me how to do this.”

COLM TÓIBÍN: Do you have his number? (laughter)

ABANI: I wanted to ask you, did coming out change your interaction with the text or with readership or with editorship or all of this?

ToibinTÓIBÍN: Yeah. For me, writing down the opening section of The Story of the Night and publishing it, was a very big moment. It was like what you were describing, except I realized I was going to go on being it, even if I stopped writing about it. It was like writing down the truth, which is something we should all be very suspicious of. And the question then is that of putting the truth genie back in the bottle. I would like a rest from either being gay, gay, gay or being Irish, Irish, Irish. Some other thing you could be—French, maybe, or very old, or clean-living—I might try. Obviously, being a woman would be terrific. I did it in my first novel so I suppose I cannot do it again. I wish there were more categories. I suppose there will be in time.

~

PATRICK MCGRATH: Evil accumulates?

MARTIN AMIS: Evil takes it out of you. Evil’s always been winning.

MCGRATH: Why should evil keep on winning? 

AMIS: Perhaps because the brain is partly reptilian. I have a rather schmaltzy notion of human potentiality which is, in fact, embodied in literature. 

MCGRATH: How do you mean? 

AmisAMIS: It’s a commonplace that literature evolves in a certain way but it doesn’t improve. It just stays there. It’s a model. I think literature has not just been about, but embodies: the best. The best that humans can do. 

MCGRATH: The best moral thought? 

AMIS: The best moral thought. The representation of humanity at the crest of itself. Something like that. In fact, I’ve never understood why the idea of literature as religion was demolished so quickly. It seems to me that would be a tenable way of looking at it. It’s a constant, making something out of the present and the past at the same time. Certainly an elitist thing, there’s no question about that. But it’s an elite open to everyone. 

MCGRATH: Do you see it decaying alongside everything else? 

AMIS: Literature? No. I mean, they say the novel is dead. Well, try and stop people writing novels. Or poems. There’s no stopping people. I suppose it’s conceivable that no one will know how to spell in fifty years’ time, but not while the books are still there. You don’t need a structure. The autodidact is omnipresent in fiction.

Martin Short: Humble Comedy Legend

I Must Say by Martin ShortYou might know him best as Ed Grimley, the grimacing, high-trousered pop-culture nerd of the rhinoceros-worthy quiff. Or maybe Jiminy Glick, the Hollywood "insider" who packs both obsequiousness and obliviousness into a single awkward, inapproptiate package. Over his long career, Martin Short has created countless iconic characters, filling many roles across a career spanning SCTV, Saturday Night Live, and dozens of films.

His new autobiography, I Must Say, is the story of his remarkable life--hilarious, heartbreaking, and inspiring. From his showbiz-obsessed childhood to Toronto's Second City improv troupe to Hollywood success as a "humble comedy legend," we meet his friends, loves, and co-conspirators: Gilda Radner, Mel Brooks, Nora Ephron, Eugene Levy, Catherine O’Hara, Paul Shaffer, David Letterman all make appearances, as do Steve Martin and Tom Hanks (in fact, their pre-colonoscopy ritual is not to be missed). We also learn how his upbeat sensibilities helped him cope with the losses of his older brother and both parents within months of each other, and more recently, his wife of thirty years. 

Short stopped by our room at Book Expo America in May to talk about the book, inspiration for writing it, and a few of his most memorable characters.

 

Video: An Interview with Author and "Font Nerd" Lena Dunham
-- "I Love the World of Books"

DunhamPraise for Lena Dunham’s memoir, Not That Kind of Girl, has come from all angles: David Sedaris (“A fine, subversive book”), Judy Blume (“Always funny, sometimes wrenching”), George Saunders (“smart, honest, sophisticated, dangerous, and charming”), Miranda July (“hilarious, artful, and staggeringly intimate.”) At Amazon, our reviewer Brittany Pirozzolo called it “Thoughtful, hilarious, and exquisitely-written … like reading your quirky big sister's diary.” 

In this interview (taped at Book Expo America in New York back in May), the writer, creator, and star of HBO’s hit show Girls discusses how writing was actually her first love, and has remained a passion, as has reading. “I love the world of books,” she said.

Writing the essays that comprise Not That Kind of Girl gave her back the “one on one relationship with writing” that she’s missed while working on Girls.

Not That Kind of Girl was Amazon's Best Book of the Month "Debut Spotlight" in October, and was named one of our 100 Best Books of 2014.

How I Wrote It: Frederick Barthelme, on Dictation, Tornadoes, Dishwashers--and Chocolate

BathelmeFrederick Barthelme's new novel is There Must Be Some Mistake.

~~~

How

When starting a new project I first gather all I’ve got in the way of unused text--fragments of stories, scenes cut from novels, sketches, characters, complaints I’ve jotted down, jokes once-loved, whatever. All this stuff has little in common save once it was important enough to draft. I put this mess into a single file and begin The Rewrite. It’s building a monster out of body parts. I stitch the stuff together, revising, extending, smoothing, shaping, seeing where it leads me. I change things without a thought--names, places, times--always trying to find the drama in the microscopic without losing the macroscopic, trying to remember that characters have political and social notions embedded in their lives. For me this embeddedness of beliefs in the characters and their world is the real heart of fiction, and the way fiction works. I take mismatched parts and unify them, jam them together in the middle of a dinner party at someone’s house, add a couple of disinterested guests to lively up the show, and maybe something happening out in the kitchen, where things are always happening. Then I rewrite until a sentence, a paragraph, a scene catches me in a way that seems essential. Then I move on.

This “method” often delivers wonderfully unforeseen results, strange aspects of character, angles on the world that feel fresh and enrich the story, which is what the work is turning out to be by now. For my money, the cardinal rule is keep yourself guessing, surprise yourself, as if printing a photograph that gradually reveals things you had no idea were present.

Eventually all the elements are stitched together seamlessly--these characters in these settings living these lives that resemble our own, but are, in the final balance, wholly fabricated. What we have is a story or a book, a celebration, a festival of argument and suggestion, cajolery, seduction; a gift to the reader in hopes of finding a shared world.

Barthelme-office copyWhere & When

I write mostly after midnight. Years ago I worked on a typewriter at a desk, a door on two sawhorses. Later I used a computer. Later still, I began dictating into a mini cassette tape recorder. I wrote anywhere and everywhere. Two Against One was the first novel entirely dictated. I did it in bed, walking around the neighborhood, in the car, in stores. I wanted to change the prose, make it messier, more inclusive, so I dictated. I liked it. It was fresh and interesting to work that way. Double Down’s first draft was done mostly in lovely darkness on the beach at Fort Morgan, Alabama, in an aluminum folding chair. Bob the Gambler was dictated while driving around town, incorporating whatever sights were to be seen in the early morning hours. Elroy Nights was also a car book. All were dictated in sequence, sometimes edited and rearranged later. Then, with Waveland, I started using the computer again to do the basic text entry.

Most of the latest novel was written in my home office (hello Internal Revenue Service), at a desk, with my feet up, on a MacBook. It’s so small you really feel connected to it in some special way, so it’s a treat to write with.

In February 2012, with a tornado coming, we hastily abandoned the house, thus were absent when the roof came off, the ceiling fell, the lovely pink insulation drifted down, and the two-by-fours flung themselves through the windows. This excitement resulted in a two-month stay at the pet friendly Candlewood Suites, where the ongoing rewrites were done in a moderately antiseptic first floor suite, brown in color. (See the photo below.) We took the first floor the better to provide access to the outdoors for Marshall, everyone’s favorite Springer spaniel.

Space

I’m not the kind of writer to put encouraging quotes or snapshots or other small objects with special meaning around my work place. I’m afraid this kind of thing seems corny to me--the whole idea of surrounding oneself with “meaningful” tokens to spur the muse. I like the muse to keep its distance. And the knick-knacks, too, though it is certainly possible I take too hard a line on this.

By contrast, I’ll happily have the silent television running where I’m working, the better to steal some peculiar bit caught out the corner of my eye. And I will have the windows open if possible. I just don’t want a lot of preciousness around. I’m in my head when writing, and there’s a lot of stuff already in there, and that’s what I attend to. If I want something corny in the story, I want it to emerge “naturally” from my own corny heart.

Tools

With this book I downloaded Scrivener. Ordinarily I use Word like everyone else, so I cringed at the thought of special “writing” software. But once I figured out how Scrivener worked I found it very helpful. It fit my process perfectly. Easy to get things in the order I wanted, painless at text entry, good reorganization, a breeze. It was great and I now recommend it. What’s best about it is that it keeps the whole project at your fingertips in a way word processors can’t. You have all your chapters, sections, bits and pieces right there in a column on the left and the text of the moment on the right. If you want to check something, connect with a prior chapter, move a scene, remind yourself, whatever, it’s all right there in front of you. A big help for longer works. Five stars.

Soundtrack

I like things quiet when I work, so night is good. I love the ringing in my ears and the comforting hum of the air conditioning, the hiss of cars speeding by, whatever outside sounds manage to creep into consciousness. I’ll listen to music (using earphones, because it’s the middle of the night and there are sleepers sleeping), and when I do it’s usually non-tragic, non-hysterical stuff like Paul Bley, Keith Jarrett, the early Dollar Brand, many of the ECM players, the Art Ensemble of Chicago, Django of course, Miles of Silent Way, and, if I’m particularly giddy, the nutball trumpet of Lester Bowie in the late I Only Have Eyes for You period. I like some classical music, old and new, and I love the sounds made by home appliances--dishwashers, clothes washers and dryers, hot water heaters, coffee makers. Some years ago I proposed to the record company that we release a record of a forty-two minute gourmet recording of my dishwasher. I made a demo CD complete with attractive cover. The CD was called Great Washer and it was beautiful in every aspect. It did not fly. Now, these many years later, I note that some shallow personages are posting low quality digital files of their lesser dishwashers on the YouTube. Sleep aids, they say.

Fuel

Chocolate.

~

> See all of Barthelme's books.

Barthelme-motellife

 

New York Times Book Review Editor Pamela Paul on "By The Book"

By-the-bookSince taking over the New York Times Book Review, Pamela Paul has revamped the venerable weekly, and brought it some much-needed life. Among her improvements, a weekly interview with a writer (usually) about his or her reading habits and predilections. Want to know what Michael Chabon has on his newsstand? Paul’s new compilation of columns, By the Book (with an introduction by Scott Turow) will tell you. We at Omni can tell you some of the same kind of stuff, too, of course, but we work on the principle that there’s plenty of info to go around, and whatever, whoever connects readers with writers is fine with us. And so, we turned interviewer of the interviewer, just to find out how she does it.

~

Is By the Book “edited”--i.e. do you cut answers, or rewrite questions or run answers together when appropriate?   

By the Book is edited in the sense that the editor (me) chooses who to include in the column each week, which questions to ask each person (the questions vary and rotate), and which answers will appear in print, where space is more limited. That said, we never edit within a given an answer--if we're going to include a question and answer, we run it in its entirety. We also edit for Times style, which has its own idiosyncrasies, and for accuracy. This is not a gotcha column in which we want to highlight someone accidentally referring to Isabella Archer. [p.s. - We didn’t edit Paul’s answers here either.]

Do you print every answer to every question, or do you pick and choose? What’s the difference between the By the Book that’s in the print paper and the one on the Web?

Pamela-paulWe do not have the space to include every question in the print edition, but we do run it in its entirety online--and in this book, which reprints the full Q and A. These are really portraits of a person through their life with books, and rather than abbreviate a long answer about someone's favorite novelist, that we should run it in full.

Why do you think the feature is so popular?  

As the editor of The New York Times Book Review, I like to think that book reviews are of paramount importance, but it would be foolish not to recognize the persuasive power of word-of-mouth. We all like to hear book recommendations from our smartest colleagues, best-read friends, spouses or just people we think are culturally tuned in or expert on a given subject. The idea of By the Book is to provide that word of mouth from the writers we most admire or whose work we most enjoy. Or whose opinion, on say, history books or music biographies we'd be especially keen on knowing. What By the Book does is marry word-of-mouth with informed opinion from our most popular and/or (not always the same) critically acclaimed writers. 

Do you do the interviews by phone, by email or in person?

As a reporter, I only conduct interviews by phone or in person--no exceptions. I'm actually vehemently opposed to email interviews, which I think have become too prevalent in journalism. A written answer is necessarily premeditated, edited, packaged. And it doesn't allow for probing, questioning, follow-up. So it feels odd to insist that this particular feature be done only by email (even when the rare person asks to do it by phone or in person, which has happened). But I think that this is an instance in which you want to get a deeply thought out answer, not an off-the-cuff response to a question like, "What book made you the person you are today?" It doesn't make for a better column if the person gives an answer and later realizes, "How could I have possibly said "Narnia" and forgotten about "Madame Bovary?" or whatever the specifics might be. Readers want to genuinely know what an astrophysicist thinks is THE best book about cosmology, not the first book that comes to mind.

Who has been your favorite By the Book respondent?

Very hard to say, I have many favorites. I think the journalist in me most appreciates the big "gets"--Malala Yousafsai, Hillary Clinton, Donna Tartt, Edward St. Aubyn. I was also incredibly pleased that the first two people I asked when I had nothing on paper to show and had just started the column--David Sedaris and Lena Dunham--both said yes right away.

Who would you most like to get but haven’t yet gotten for By the Book?

Happily, not a lot of people have said no. But I would love to get people who are not necessarily authors but are writers in other formats, or great readers. I'd love to have Mick Jagger or Paul Simon. Or both.

Are BtB respondents always authors?

No. The actor and comedian Bill Hader did one this past summer that I thought was brilliant and unexpected. He's an autodidact, a voracious reader, and he's got excellent taste.

Must you have read the work of the author(s) you choose for BtB?

No, but it helps. At the very least it helps to have a sense of their work, their lives, their experiences. Because the interviews are tailored to each person and you want a mix of both expected an unexpected answers. I really like the question "What's your favorite love story?" which I don't ask all the time, but I do like to ask both of the expected (a romance writer) and the unexpected (a military historian). Same thing goes with asking about self-help. Who knew Hilary Mantel would be such a fan of the genre?

Who chooses the authors and who does the interviews?

I do.

What happens if a BtB respondent has a new book that’s not positively reviewed in your pages?

In a way, By the Book is a nice way to balance our review coverage, and to offer readers another perspective on the author or her work. A reader may find herself disagreeing with the reviewer who pans a book, and very much liking what the author has to say for himself, or find they have literary tastes in common. 

What’s the best answer you ever got from a BtB respondent?

I think the best answers, honestly, are the ones that connect different authors. I realize its sappy, but what I love most is when writers find out they admire each other's work from afar. It was a delight when Donna Tartt said, for example, that she was eagerly awaiting the next Stephen King novel--before she saw Stephen King's rave of The Goldfinch on our cover.

What are you reading right now--and why?

I am reading all (or nearly all) of Dave Eggers's books in anticipation of an event I'm doing with him in San Francisco on October 29th. I had only read What is the What, so I'm going back and reading through his earlier books. I started with The Circle, then went to A Heartbreaking Work of Staggering Genius, and now I'm reading Hologram for a King, which I plan to follow with Zeitoun. He's been incredibly prolific in a relatively short period of time so I have my work cut out for me.

~

> See all of Pamela Paul's books

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How I Wrote It: An Interview with Cary Elwes, on His Memoir, "As You Wish"

ElwesCary Elwes discusses his new memoir, As You Wish: Inconceivable Tales from the Making of The Princess Bride, a behind the scenes look at the filming of the cult 1987 classic.

In this exclusive interview, filmed this summer in New York, Elwes says he was inspired to write the book after meeting with the cast and crew at a twenty-fifth anniversary reunion in 2012. "I felt that the time was right to tell my story," he said.

"The making of the film was really a collaborative effort. We're like one big family ...It's not just my book it's theirs as well, it's all of ours."

The book contains never-before seen photos and interviews with his fellow cast mates, including backstage stories and secrets.

Lunch With: Mark Bittman, on Cooking with Speed and Confidence

20141014_133913_resizedI've been cooking since I was a teenager, starting as a short order cook at the Gibson Girl diner in Sparta, New Jersey. (Still the best job I ever had). I found myself thinking about that long-ago job as I leafed through Mark Bittman's new book, How to Cook Everything Fast, which encourages improvisation and experimentation. I remember the day at Gibson Girl when I ran out of bacon for our famous Butch Burgers--bacon, cole slaw, special sauce. I ran to tell my boss, Vinny Scapicchio, who slapped a couple pieces of ham on the grill. "They'll love it," he said.

In How to Cook Everything Fast, Bittman offers strategies and shortcuts designed to help people cook with the same level of confidence as my man Vinny. During a recent visit to Seattle, Bittman spoke with us over lunch (at Shanik Indian restaurant, followed by a shot at Uptown Espresso) about his attempt to create a book full of recipes (2,000 of them) that can each be completed in 45 minutes or less.

By combining cook steps with prep steps, the book is designed to streamline recipes and take away the excuses many people use for not cooking their own meals--not enough time, don’t know what I’m doing, don't have the right ingredients… The book encourages compromise, such as replacing ingredients with something that's close enough. “And I think that is what cooking is all about. It’s about compromise. We all feel sort of hurried,” Bittman said. “You never have the perfect ingredients.” 

To Bittman, perfect is less important than fresh and handmade. “I think the from-scratch thing is really important, because it’s the only way you know what you’re eating,” he said. “We don’t know what’s in the food we eat unless we cook it ourselves, and to me that’s the primary reason to cook. I want to know what I’m eating.”

These days, Bittman has become an evangelist (in his New York Times opinion columns and elsewhere) for encouraging people to eat better by folllowing a simple rule: “eat real food."

No need to follow recipes slavishly, he insists. If you have the basics in your pantry, you can make just about anything. With practice, you can even develop the instincts and trust in your own judgement to, say, swap in grilled ham atop a burger when you don't have bacon.

Bittman2~

> See all of Mark Bittman's books

> Visit his website

> Follow him on Twitter

 

YA Wednesday: Carl Hiaasen on His First Young Adult Novel

SkinkBigCarl Hiaasen has joined the ranks of best-selling authors writing for younger readers.  He's already written a handful of books for readers age 10 and up, including his most recent, Chomp. Hiaasen's first young adult novel, Skink: No Surrender (one of our Best YA Books of September) marks the return of a popular character from his adult novels who first appeared twenty-five years ago. 

In the video below, we talked to Hiaasen about his blend of humor, environmentalism and timely subjects in Skink, as well as the books that inspired him as a young reader and led the way to his career as a journalist and author.

 

 

Books mentioned in the video above:

Omnivoracious™ Contributors

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