Virginia Festival of the Book

Enough of the politics and disaster blogging. Let’s write about someting exciting for a change–like writing.

Since Wednesday, Charlottesville has been hosting the 17th Annual Virginia Festival of the Book. It’s four and a half days of books and writers and panels about writing and publishing. Great stuff. (For a look at the events and history of the Festival, go towww.vabook.org.) The Festival covers all prose genres and poetry, and if you buy tickets in time you can listen to luncheon speakers like Kathy Reichs and Jim Lehrer. Apparently, you needed to buy those tickets last year because by the time I got to the Web site in early February, the events were sold out. I could only live vicariously through people I overheard talking about them in the hallways.

On Friday, I picked two panels to attend: Novels about Novelists and Worlds of Danger.

The Novels About Novelists panel was held at WriterHouse, whose mission is to “promote the creation and appreciation of literature and to encourage the development of writers of all levels by providing affordable, secure workspace and meeting space, high quality writing instruction, and literary events for the public.” (For more info on WriterHouse, go to www.writerhouse.org.)

The three authors and their books were Martha McFee (Dear Money),John McNally (After the Workshop), and Carolyn Parkhurst (The Nobodies Album).

McFee’s book is about a successful novelist who decides she needs to make more money and so decides to give up writing to be a bond trader. McFee herself described it as “an intersection of commerce and art with a focus on commerce over art.” An interesting premise to be sure, but I wasn’t that interested in reading about someone giving up art to become a money-grubbing capitalist. However, McFee read a portion from Dear Money that perfectly showcased society and media in New York City–it was a spot-on caricature of the “ladies who lunch” in present-day Manhattan. McFee explained that her protagonist does feel as if she’s betraying her art, almost as if she’s having an illicit affair. It allowed McFee to explore how it would feel to give up writing but not really do it.

In After the Workshop, McNally wrote about an aspiring writer who graduated from a prestigious writing workshop, only to stay in that city and work as the meeter/greeter who shepherds other writers around the city when they come to teach at the workshop. That much, McNally indicated, was autobiographical; however, with several books published he has no further relation to his protagonist. McNally read a passage describing his protagonist’s encounter with an agent–wildly comic but poignant at the same time. McNally described the writer in his novel as someone who continually questions his talent and everything else about his life. That one was a purchase for me, because I’m always questioning whether I can really do this (writing) or not.

Parkhurst’s topic in The Nobodies Album was the most intriguing–a successful novelist who decides to re-write the endings to all her published works while having a personal crisis with her son. Parkhurst described the draw on her creativity when she had to create two endings (original and revised) to several non-existent novels. She remarked that some people at readings don’t believe her when she says these novels don’t really exist–they want to know where to buy them! That one was a purchase as well.

In the discussion afterward, the moderator pointed out, in each book, the novelist-protagonist was not writing. Parkhurst replied, “That isn’t very exciting–a novel about a novelist writing!” What is interesting, she explained, is exploring what keeps us from writing. The moderator also pointed out that in writing about novelists who aren’t writing, there really is a lot about the craft of writing in the books.

Worlds of Danger featured authors whose books were about fear. Pearl Abraham (American Taliban), Carla Buckley (The Things that Keep Us Here),and Sheri Holman (Witches on the Road Tonight) called on different aspects of fear. Abraham described her novel as “how did we get from ‘we have nothing to fear but fear itself’ to fear 24/7” after 9/11. Buckley’s idea came to her during the hype around the H5N1 possible pandemic a few years back. Holman’s book is basically about fearing your past.

Abraham’s book is loosely based on John Walker Lind, the so-called American Taliban captured by the CIA during the initial war in Afghanistan. Lind is now in prison for joining a terrorist organization but was almost put on trial for the murder of a CIA contractor even though he was nowhere near that event. Buckley, who is married to a scientist, came up with her novel concept after her previous nine mysteries had failed to get published. She and her husband had moved from a community where they were well-established to a new city where she had no friends or community support–at the height of the H5N1 crisis. In the midst of wondering what she would do to protect her children if the pandemic did happen, the idea for the novel came to her in a nightmare. Holman calls on folklore from the Appalachians and a former late-night horror movie show host to examine how our past creates fear for our present. The selections these authors chose to read convinced me to buy all three.

Book total on my day one at the Festival: five. Oh boy, here comes the trade-off–write or read?

Tomorrow’s post: Report on my Day Two at the Festival–the Book Fair and two more panels.

Pretty Little Boxes

From the 1964 Presidential race, I remember the anti-Goldwater commercial of the cute, little blonde girl singing sweetly and plucking petals from a flower, then the blossoming nuclear mushroom cloud obliterated her–or so we were supposed to think. For the 1960’s it was pretty graphic and controversial, but it got the point across about the differences between Goldwater and LBJ.

You could say I’m a child of the nuclear age. Born seven years after my country used nukes on Japan, I grew up with talk of bomb shelters, mutually assured destruction, and the nuclear arms race. Those of us born in the 1950’s just assumed we’d all eventually die in a nuclear holocaust because everywhere we turned people in authority were telling us just that. (Probably why some of my favorite science fiction is post-apocalyptic.) In first or second grade we had to bring a shoe box to school. The teacher let us decorate it however we wanted (mine had horses, of course) and put our names on it. Then, a list went home to our parents–things we had to bring in to put in the box. I can remember a bar of soap, a washcloth and small towel, toothbrush, toothpaste, and a deck of cards. I’m sure there were other items that have faded from memory. After we put our items in our pretty little boxes, we lined up to place them on a shelf in the storage cabinet in our classroom.

Then came the drills. The school bell would ring in a way different from recess or end of the day. We would practice getting up from our desks then crouching under them, our arms over our heads–duck and cover. After a few minutes of that, we lined up to take our boxes from the cabinet, then we filed, with the rest of the classes, down the hallway to the door that led to the school’s basement. I remember a dark, cramped place, but, damn, the teachers made it out to be lots of fun. They’d even continue with classes to a degree, then an hour or so later, another bell would sound, and we’d march back up to our classes, tuck our boxes away, and proceed as normal until the next drill. The teacher taught us about fallout and how practicing going to the basement would help us not be “affected” by fallout and how we’d have so much fun spending all our time in the basement–like a camping trip! Woo hoo! I’d never been camping at that point, so it all seemed so exciting.

In a way only a six or seven year old can, I told my Dad all about it the next time he came home on a pass. I suppose because he so often got sent to West Berlin where he had to sit in his tank in gear supposedly to keep radiation from affecting him, he wasn’t terribly impressed. Even though we were nearly 60 miles away from Washington, DC, “a probable target,” he explained, there would be no time to get to shelter. Fallout, he explained, was the least of our worries since the heat blast would flash-burn us before we could get out of our chairs to duck and cover.

Scared the crap out of me, but my Dad never sugar-coated anything.

As the years passed and we began to rely on the concept of a “nuclear standoff”–meaning neither side wanted to destroy the earth–those Civil Defense drills grew fewer and fewer in number. School basement fallout shelters went over to storage space, and a whole generation of children grew up wondering what a fallout shelter was. Eventually, after I became a science geek, I fell for the idea that we could put nukes to “peaceful uses,” like power plants that produced electricity without polluting the air. And what about “spent fuel rods” and “nuclear waste?” Well, we’re a brilliant country; we’ll figure something out, like making the moon a nuclear garbage dump or some such. No need to worry.

Except that I wasn’t yet a government employee and had no idea about the concept of “lowest bidder” in government (local or federal) contracting. When the “partial meltdown” at Three Mile Island occurred a month before my 27th birthday, the nuclear fear returned. If Three Mile Island didn’t turn me completely away from the nuclear alternative for energy, Chernobyl did. Where TMI was human error overcoming a safe design, Chernobyl was poor design to cut corners and save money in a failing Soviet economy. TMI was the “what if.” Chernobyl was the reality of an out of control nuclear pile meltdown, the effects of which Ukraine will experience for generations to come.

One of my increasing number of disappointments with President Obama was his focus on nuclear as a “clean” energy option. How something whose “waste” has a half-life of 500,000 years is clean is beyond me. Now, I’m no Luddite. I don’t want the ones in use to be shut down immediately; we’ve become dependent on that electricity production. I would like to see no new nuclear power plants built and increased inspections of those near fault lines. (Amazing how Repubs like to cut funds for all sorts of safety inspections.) I would like to see them phased out as we find alternatives we know won’t cause a different kind of nuclear apocalypse, the kind facing Japan right now. And frankly, as long as we dabble with nuclear plant generated electricity, we have no incentive to either acknowledge we’re past the peak of oil availability or to explore safer alternative energy sources.

A before picture of the reactors at Fukushima shows us pretty little, high tech boxes lined up on a shelf near a seashore. The after picture is from one of my post-apocalyptic nightmares. Find that picture, print it, pin it on your wall. And remember.