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Moving Beyond Auto-fiction to the Epic: Three Novel Recommendations

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The English publication of the volumes of Karl Ove Knausgard’s My Struggle coincides with a renewed interest in “auto-fiction,” also known as the autobiographical novel. While I have read and enjoyed several of these works of auto-fiction, my favorite is Elena Ferrante’s Neapolitan Novels, which seemed to draw on some auto-fiction elements, but also used other literary devices such as image patterning and developing character arcs, while incorporating motifs of class, politics, art, motherhood, friendship, and feminism.

Since finishing the Neapolitan series I’ve found myself wanting to read more novels that span generations, placing themselves in historical context, in which history itself (just as Ferrante’s working class post-war Italy) becomes a character. Three recent novels fit this bill, and I recommend them to anyone desiring epic historical novels that educate as well as entertain.

Book Marketing and Promotion

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On June 1, my novel While You Were Gone was published by C&R Press, which means I should be promoting it. Even though this is my third novel (and fifth book) in my last post, I discussed how, for me at least, writing does not get easier, as each project brings its own challenges for promotion as well.

All of my books have been published by small presses, which means a limited promotion and marketing budget. All of the presses I have published with did send out review copies (from 20 to 100) to a variety of publications; however, I usually only end up with a half dozen reviews best. Part of this is because publications (unless they are specifically geared to small presses) tend to publish reviews of books from larger presses.

It Doesn’t Get Any Easier

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On June 1, my novel While You Were Gone, about three sisters navigating life and love in the “new” South, will be published by C&R Press. Even though While You Were Gone will be my fifth book, the writing does not get easier. Each new project comes with different problems and challenges.

Here is the synopsis for novel: As young adults growing up in Chattanooga, Tennessee, the three Nash sisters are still haunted by their mother’s early death. Shannon, the middle sister, wants to be an investigative journalist. Paige, the youngest, wants to channel Bessie Smith, her mother’s favorite singer. Claire, the oldest, desires stability through family and career.

When their father is diagnosed with terminal cancer, the sisters cope with the loss in different ways.

An Interview with Xu Xi: writer, teacher, editor, and roamer of the universe

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I first met Xu Xi, who was on faculty, when I was a student earning my MFA at the Vermont College of Fine Arts low residency program. She was my mentor for my final semester there in 2005, and since then has become a lifelong mentor to me, in writing and in life. Always busy with writing, traveling and other projects, Xu Xi was still gracious to answer some questions about her work and writing life.

Xu Xi is the author of twelve books, including five novels, five collections of short fiction & essays and most recently a memoir DEAR HONG KONG: AN ELEGY TO A CITY, released July 1, 2017 by Penguin as part of its Hong Kong series for the 20th anniversary of Hong Kong’s handover to China.

Philosophy, Politics, and the Role of the Artist, Part II

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Philosophy, Politics, and the Role of the Artist, Part II

I.Notes from the St. Martin Book Fair

In Part I of Philosophy, Politics, and the Role of the Artist, I explored University of St. Martin President Francio Guadeloupe’s assertion that the technological is the colonial. Guadeloupe, as I noted in Part I, suggests that “As politically heuristic as the distinctions between despots and democrats, atheists and theists, creationists and evolutionists, or in more macro terms the imperial West and the developmentally arrested non-West may be, these fade into insignificance when one comes to see that the technological is the colonial.”

I end Part I with my own question, “Now, I am trying to ask not only what is happening, but to whom?

Philosophy, Politics and the Role of the Artist, Part I

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In 2005, as part of my graduation requirement for my low residency MFA program at the Vermont College of Fine Arts, I gave a craft lecture titled “In Defense of Telling: How to Put Ideas in Your Short Fiction,” which eventually was published in early 2008 as an essay at Segue Journal’s Writers on Writing, which can be read here: http://www.mid.muohio.edu/segue/wow/baker-defense.swf.  In that essay I discuss how classic American short story writers such as James Baldwin, Flannery O’Connor, and John Cheever integrated their world views into their short stories. That essay begins:

I really began thinking about the “vision thing” after the 2004 American elections. During that time, with so many of my fellow writers and teachers in despair over the direction our country was headed, I recalled a passage from one of my favorite short stories, “This Morning, This Evening, So Soon.” In the story, a French film director is in a bar talking to a group of young African Americans who are traveling around Europe.