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25

Working with Speakerfile at BEA, June 5-7

June 5 Update: As you can read below, I was planning to put the Book Expo America (BEA) live stream on my site, but I found the link for it brings with it a jarring, noisy ad that disturbed and annoyed readers on my site the few hours I had it up as a preview. If you do want to view the live stream, I recommend you go to the BEA site and watch it there. Meantime, below is an updated version of my original post previewing BEA, which stands as relevant as when I first put it up last week. Now, I’m off to the first full day on the convention floor at the Javits Center!



May 31

Next week I will be attending Book Expo America (BEA), the book industry’s annual convention which I’ve been attending regularly since 1978, when with my family I began operating the bookstore Undercover Books. In those days it was known as ABA, named for the American Booksellers Association, the trade group that then ran the show. It’s a sturdy annual rite of rededication to the creative and commercial enterprise that is book publishing where acres of forthcoming books are displayed at publishers’ exhibit stands; authors sign advance reading copies (ARCs) for booksellers and librarians; and book biz friends who haven’t seen each other for at least a year meet and re-meet and share their enthusiasms for the upcoming year’s new books.

This year I will be working BEA with a new client, a Toronto company called Speakerfile who’ve hired me as an affiliate of theirs in NYC, representing them to publishers, publicists, agents, and authors. They’re building a great platform–think eHarmony®–with conference organizers and meeting planners on one side and experts and authors on the other. If you are an author who does public speaking–or you work with authors, experts, and thought leaders who speak in public–and are eager to have more and better bookings, I suggest you visit Speakerfile’s website to get a sense of what they’re building, and ask me for more information. To make it easy if you want to learn more, I’ve placed a promo spot at the upper right corner of my site–a click on it will take you right to Speakerfile’s home page. CEO Peter Evans will be at BEA, so please ask me for an introduction or a demo of their platform. If you’re looking for us, much of the time we’ll be at Bowker’s stand.

Also, for the first time I will be at BEA as an accredited member of the press, covering the event for this blog.One perk that bloggers have been offered is the chance to live stream on our websites the BEA’s own video feed of the convention from the Javits Center. So beginning next Tuesday, June 5 through Thursday, June 7, I invite you to visit this site where you can vicariously channel the experience of BEA.(A warning: the embedded link currently begins with an e-reading ad at high volume, so you may want to mute your volume for about ten seconds.) I have no input about which events they’ll be carrying but I suggest you keep an eye out for these two possible highlights:

♦ Wednesday, June 6, at noon when Patti Smith will engage in a conversation with Neil Young, who in October will be publishing his memoir, Waging Heavy Peace. June 5 Update: I’ve been told that due to permissions and rights issues, BEA will not be able to live stream this event. To view the BEA live stream, go to the BEA’s own web site.

♦ Tuesday, June 5, 3:00 PM, when Ami Greko and Ryan Chapman host 7x20x21. In this rapid-fire program speakers have 7 minutes and 20 powerpoint slides to present their publishing   obsessions. Participants are

*Statistician Nate Silver, who writes the FiveThirtyEight politics and polling blog at the New York Times

*Shelia Heti, author of Ticknor and the upcoming How Should a Person Be?

*Robin Sloane, former Twitter employee, writer, media inventor, and creator of the much-lauded tap essay Fish.

*D. T. Max, writer of the upcoming David Foster Wallace bio, Every Love Story Is a Ghost Story.

*Dan Wilbur, creator of Better Book Titles, a blog which offers this replacement title for “Much Abo about Nothing”: “An Extremely Complex Lie Will Clearly Solve Everything.”

26

Toronto’s NXNE Festival & Speakerfile, June 13-18

In addition to covering Book Expo America (BEA) next week as a member of the press I will also be attending the North by Northeast Festival, aka NXNE, in official capacity as a blogger. This annual extravaganza–held in in Toronto each June since 1994–features music, film, and interactive/digital/publishing elements. Their website trumpets “650 bands and 40 films” over the week of activities. I attended last year and had a great time, discovering such bands and artists as Imaginary Cities, Gramercy Riffs, Harlan Pepper, Zeus, Mohawk Lodge, Carolyn Mark, Graham Wright, Wayne Petti of Cuff the Duke, Matthew Barber, and Brian Borcherdt. I also participated in a grand meet-up of many friends from the informal community that congregates on the CBC Radio 3 blog organized by host, friend, and author Grant Lawrence. So it’s a real treat to be going back this year, and this time as a blogger with full access to all festival events. Among the artists on this year’s NXNE schedule I most look forward to hearing live are Matt Mays (#1 on my personal bucket list of Canadian indie rockers I’m eager to see play), Andre Williams and The Sadies, Plants & Animals, and The Flaming Lips. And of course then there will be the serendipitous performances I can’t predict–new musical discoveries–the very thing that makes festival-going such a rich and exciting experience. I hope to be live-blogging and reporting from on the spot as much as possible.

While in Toronto I will also meet with book biz friends and contacts and a new company called Speakerfile that I’m representing to literary agents, authors, publicists, and publishers, in New York City, and elsewhere in North America. They’re building a great platform–think eHarmony®–for conference organizers and meeting planners on one side and experts and authors on the other. I will also be working with them at Book Expo America (BEA) next week, and again when I’m in Toronto the following week. If you are one of my friends in publishing or the media and are intrigued by Speakerfile’s model, please ask me to brief you on them. We also have meeting times still available for next week at the Javits Center, and I would be happy to introduce you to their CEO, Peter Evans. They have a great product and services that will be helpful to many in the publishing community who are eager to surmount the discoverability challenges that face us all nowadays. I’m really excited to be working with them.

It’s sure to be a great week, attending and covering NXNE, and working with Speakerfile.

27

A Renovated Digital Home for the CBC Archives

Cool stuff on the Web from the CBC Archives is now accessible to virtually all computer users. The national broadcaster of Canada goes back to 1936 but until now their Internet archive was more frustrating than enlightening. Now, however a post on the CBC’s in-house blog explains that the old site has been updated, with a side benefit that MAC users–formerly shut out–should now have as full access as folks on Windows machines. It does look much better now and you can savor TV and radio clips of musicians Neil Young, Leonard Cohen, Glenn Gould, writers Margaret Laurence, Margaret Atwood, Alice Munro, Farley Mowat, and Pierre Berton, comedians Bruce McCullough and Scott Thompson from Kids in the Hall and Catherine O’Hara of SCTV and Patrick Watson* (the longtime broadcaster, not the current day musician), to name only a handful. I should add it’s not all about the artistic luminaries–the correspondents and journalists who’ve long made up the CBC, such as Patrick Watson* (the longtime broadcaster, not the current day musician) and the late Barbara Frum, co-host for many years of “As it Happens,” Canada’s “All Things Considered,” represent great broadcast talent. This archive is a veritable youtube for Canuckaphiles and honorary Canadians like me. For a taste of one artist, enjoy this 2 1/2 minute clip on stellar rapper Cadence Weapon, celebrating his selection in 2009 as Poet Laureate of Edmonton, Alberta.

*In 1979, one year after my family bookstore Undercover Books opened for business, Patrick Watson published an excellent suspense novel titled Alter Ego. My brother Joel read it and wrote to Patrick inviting him to visit our store. With the participation of his publisher, Viking, Patrick visited our store for an autographing and a great book party that moved from the store to my family’s nearby home. I recall that Patrick, an accomplished pilot, flew his own small plane from Toronto to Cleveland. I bumped into him in 2003 on the convention floor at Book Expo Canada. We had a pleasant reunion. He’s a grand fellow and has had a fascinating career as broadcaster, actor, author, and engaged citizen. Apart from the thriller Alter Ego, Patrick is also the author of a book in my art book library, Fasanella’s City, on the American painter known for his colorful canvases that depict May Day celebrations and demonstrations of workers’ rights amid clamorous scenes of urban density.

28

You Can Help Make This Blog a Winner

I’ve entered The Great Gray Bridge in a contest sponsored by Goodreads. They will be selecting 4 top book blogs for special recognition and perks at Book Expo America (BEA) in June. Voting by the public began April 10 and continues through April 23. There will also be a juried element of the competition. I’ll be posting throughout the two weeks to remind folks, and sending out updates via Facebook and Twitter. I also have a handy widget on the right side of my blog just below “Foundational Posts” to vote for this site. In entering the contest, I submitted five entries representative of my books and publishing coverage.  The first one I cited was Lost American Writer Found–Jim Tully.  I’ll put others up as the contest continues. I hope you enjoy reading my blog and will vote for it. Thanks for your support.

29

Announcing My Collaboration with Speakerfile

June 25, 2012–Shelf Awareness, the e-newsletter for booksellers and librarians and others in the book trade, has run a generous announcement on the collaboration I announced last week with Speakerfile. It was in the email they sent out to their subscribers this morning and at this link. If you don’t already subscribe to their emails, I recommend them–there’s a professional one for the book trade that comes out every workday and one for readers that’s published twice a week–they are grouped together at this link.

Last Friday, the day the release below hit the wires, the daily e-newsletter Publishers Lunch also covered the news, with a piece at this link.
— 
June 22, 2012–Today I am announcing a business collaboration with Speakerfile–the Toronto-based company I’ve been writing about a lot on this blog over the past month. I’ll be representing their robust online platform that connects conference organizers and meeting planners with authors and thought leaders to publishers, authors, agents, and publicists. This press release on PR Newswire announces the arrangement. I’ve also pasted it in below, for your convenience. If you are an author, or you work with authors who want to do more public speaking, please read the release and follow the links to learn more about this engine of discovery that has the potential to put authors in front of audiences and drive book sales. You’ll also find a promo for Speakerfile near the upper right-hand corner of this website, which you can click on to go directly to Speakerfile’s site. Please let me know directly of any questions you may have, or if you’d like to sign up for Speakerfile.

Click on the link above for the press release or click through here for the release copied & pasted-in.

30

Lost American Writer Found–Jim Tully

Until recently, I had not read even one of the fourteen books by the early- to mid-twentieth-century American writer Jim Tully (1886-1947) and knew little about him. Given my personal interest in Tully’s subject matter, which included circuses, hoboes, and riding the rails, springing from his twin milieux, rural Ohio and early Hollywood, I’m surprised at myself for having been slow to pick up on him. Now having sampled his work and discovered what an important and successful literary career he made in his life by reading the excellent new biography of him, Jim Tully: American Writer, Irish Rover, Hollywood Brawler, I’m going to do my part here to redress this widespread case of historical amnesia. I believe that now–especially in light of the Occupy movement and the attention it’s drawing to the economic distress afflicting millions in our society–is an ideal time for Jim Tully to be rediscovered. / / more . . .

31

From 2007, “The Baby Thief: The Untold Story of Georgia Tann, the Baby Seller Who Corrupted Adoption”

When I was an editorial executive for Carroll & Graf Publishers from 2000-2007, among the most consequential narrative nonfiction books I edited and published was journalist Barbara Bisantz Raymond’s revelatory investigation The Baby Thief: The Untold Story of Georgia Tann, the Baby Seller Who Corrupted Adoption.” Publishers Weekly named it a Notable Book of the Year, in 2007.

The basic story—first chronicled by Raymond in an exposé for Good Housekeeping magazine, which inspired a “60 Minutes” segment and then a 1993 TV movie, “Stolen Babies,” with Mary Tyler Moore in an Emmy-winning performance as the titular figure Georgia Tann—was shocking. Tann (1891-1950), nationally lauded for supposedly arranging legal adoptions out of her Tennessee Children’s Home Society, was in reality a baby thief who stole, bartered, and brokered more than 5,000 children from unwed mothers and poor families throughout Appalachia and the South, selling them to wealthy clients around the country, including in Hollywood, where actors Dick Powell, Lana Turner, and Joan Crawford were among her clients, prominent names she would use with future customers. Protected by Memphis political boss Ed Crump, it is estimated that Tann sold more than 5,000 children, making about $5 million in mid-twentieth century dollars (equivalent to more than $100 million today).

Beginning in 1924, and ending only with Tann’s death in 1950, she virtually invented modern American adoption, popularizing it, commercializing it, and corrupting it with secrecy. To cover her crimes, Tann falsified adoptees’ birth certificates, sealing their original documents and issuing new ones that falsely claimed adoptive parents were birth parents. This secrecy was enshrined in law by legislators in the entire United States who claimed it was necessary to spare adoptees what they believed was the stain of illegitimacy.

As the years passed following the original explosion of interest in the story, Barbara Raymond continued to hear from Georgia Tann’s adult adoptees. She kept gathering string, and in 2006, Barbara’s then-agent Lynn Franklin submitted the manuscript of what would become The Baby Thief  to me. I quickly made an offer to acquire the rights.

Reading the manuscript for the first time—in those days still a printout on paper—conjured up a cascade of emotions as Raymond’s reporting included many accounts of anguished parents and adult adoptees who’d been separated against their will. She revealed dozens of instances where Tann schemed to separate newly born babies from poor parents, with fictions customized for each situation; a common one was to imply that the babies would be taken from destitute parents only while they got themselves on their feet. Editing the manuscript with Barbara, I also encountered the rich trove of documentation and sources on which she based her narrative. Reading it today, as I have been this week, I see its themes continue to reverberate, with many states still denying adult adoptees their original birth certificates, though other states are now operating under reformed practices. Arguably, the book has done a lot to create more open information-sharing with families by the states.

In a contemporary sense, it strikes me now, more than fifteen years after I edited the manuscript, that the baby trafficking Georgia Tann undertook, and the national baby sales network she developed, could be said to have been a sort of proto-version of QAnon—the mythology of this decade which purports that members of the Democrat party are engaged in stealing children from their parents—only Georgia Tann really did it.

When published in hardcover, the reviews were exceptional:

“An episode in American adoption history little remembered by the public at large, the crimes of nationally-lauded Memphis orphanage director Georgia Tann are skillfully and passionately recounted by freelance writer Raymond, herself an adoptive mom. The portrait of Tann that emerges is a domineering, indefatigable figure with an insane commitment to ends-justify-the-means logic, who oversaw three decades of baby-stealing, baby-selling and unprecedented neglect. Meanwhile, she did more to popularize, commercialize and influence adoption in America than anyone before her. Tann operated carte blanche under corrupt Mayor Edward Hull Crump from the 1920s to the ’50s, employing a nefarious network of judges, attorneys, social workers and politicos, whom she sometimes bribed with “free” babies; her clients included the rich, the famous and the entirely unfit (who more than occasionally returned their disappointing children for a refund). “Spotters” located babies and young children ripe for abduction-from women too uneducated or exhausted to fight back—and Tann made standard practice of altering birth certificates and secreting away adoption records to attract buyers and cover her tracks—self-serving moves that have become standard practice in modern adoption. A riveting array of interviews with Tann’s former charges reveals adults still struggling with their adoption ordeal, childhood memories stacked with sexual abuse, torture and confusion. Raymond’s dogged investigation makes a strong case for “ridding adoptions of lies and secrets,” warning that “until we do, Tann and her imitators will continue to corrupt adoption.” A rigorous, fascinating, page-turning tale, this important book is not for the timorous.—Publishers Weekly, a starred review

“A fascinating dark tale of Ms. Tann’s influence [that] gives voice to the brokenhearted children and their birth parents damaged by her actions. [R]iveting.’”—Dallas Morning News
 
“Raymond recounts this astonishing and horrifying true story with tremendous self-awareness and intrepid research into Tann’s ongoing legacy.”—The Tampa Tribune

“Fascinating, insightful, chilling and compelling. A very important book and a terrific read.”—Adam Pertman, Executive Director of the Evan B. Donaldson Adoption Institute and author of Adoption Nation

I thought so highly of the book that when I moved to a new editorial position early in 2008—to run Sterling Publishing’s Union Square Press imprint—I quickly acquired the reprint rights to the book, and published it in trade paperback later that year. In the years that followed the book attained elevated status among adult adoptees and their families. As one measure of its impact, web pages for the book on Amazon and Goodreads total more than 2000 comments from grateful readers, with remarks like this one:

“Thank you for lending your voice to those still seeking their families lost. I recommend this book. In memory of my precious father in law, Fred Crumley, who was an amazing dad, paw, I am still seeking truth for our family. His birth mother was Carrie Cates. He was adopted from The Tennessee Children’s Home Society, along with a sister.”

Sadly, agent Lynn Franklin, who’d represented many important authors along with Barbara Bisantz Raymond, including Archbishop Desmond Tutu, died in 2021 at age 74. Barbara, who lives in my old hometown of Cleveland, and I have stayed in touch over the years. Recently, she contacted me when a documentary producer got in touch with her about the book and my company Philip Turner Book Productions is now her literary agent. In addition to possible adaptations for a documentary or a feature, and possibly a new paperback edition, I also hope to make a deal on the author’s behalf for an audiobook, as there has never been one.

In the meantime, if you have an interest in adoption, and want to know how our practices surrounding it developed in the last century, or if you just want to read a superbly paced narrative nonfiction book, a true crime thriller with a powerful social message, I suggest you pick up a copy of The Baby Thief: The Untold Story of Georgia Tann, the Baby Seller Who Corrupted Adoption.

32

Ernest Hemingway and the Agony of Inspiration by M. G. Turner

As a writer, I’ve had multiple run-ins with Ernest Hemingway. The first was in the spring of 2021, following the airing of the Ken Burns documentary, and the most recent was last month, after buying a large Hemingway boxed-set, which I wolfed down in two weeks. The set included The Sun Also Rises, and A Farewell to Arms, which I had previously tried to read all the way through and failed.

This time I did not fail. But perhaps I should have. You see, for the past year I have been completing a novel that has its stylistic roots in what I like to think of as “modern gothic” with what I hope is fluid and frankly beautiful prose. My work tends to come from a much different aesthetic place than those who follow the Hemingway method, i.e., Raymond Carver, Tobias Wolff, and George Saunders; yet to my chagrin I found, as I pressed through the great and tragic author’s oeuvre I was losing my sense of self, my sense of who I am as a writer. There are some writers, and artists in other fields, whose voice and style are so magnetic, so enveloping, that they instill in the reader or viewer the sense of nothing having existed before or after them. Hemingway is a quintessential example of this, and an author whom most aspiring writers need to tangle with at some point. And for me, this past month, my collision with Hemingway came, and I left the ring, as it were, feeling as if I’d been continually punched in the face. This could be due to the quick, jabbing, declarative nature of Hemingway’s prose—it stands to reason that he himself was an avid boxer—and clearly brought this quality into even his most lengthy, involved novels such as A Farewell to Arms and For Whom the Bell Tolls.

Some writers—I’d even say most—try a different approach with the reader. Some lull, some soothe, and some entertain. Hemingway does none of the above. Hemingway berates and belittles, but he also rescues and redeems. Which is why, even when I recently felt his voice becoming my own, and my boundaries yielding to his force of will, I did not put his books down, did not shunt my new boxed-set onto a high shelf, did not flee the ring. I stood firm. I withstood. I, and most importantly, my young novel survived.

***

I work with fiction writers almost every day, as an editor and a literary representative. Most of the time I think half of my job is to help each writer tangle with the demons embedded in their prose, thorny eruptions that can spring up at any moment. In even more poetic terms, I see myself as a Horatio, Hamlet’s loyal friend, who stands fast as the ghost of his father the fallen confronts the young prince and forces him to wrestle with his conscience. On the page we come face to face with ourselves, and when we read books we come face to face with other people. Naturally every writer, when working in the most effective capacity, will bring themselves to the page, so it stands to reason that when one reads Hemingway they not only read him, they face him, and sometimes even face off with him.

If you’ll allow one more boxing metaphor, when we pick up, say, A Farewell to Arms, we are contending with an experience that Hemingway has transmuted to the page in terms as stark as he could muster. He dares you to withstand him and what he experienced. You feel like you are slogging through the mud, feel like you are tangling through the trenches, and when Henry’s dear love Catherine Barkley dies in childbirth he makes you go through it with him, mourning her to the last page as he denies us even a smidgen of satisfaction. “After a while I went out and left the hospital and walked back to the hotel in the rain.” Henry does not cry. He does not scream. He simply stumbles on, injured and broken, just as we, having made it to page 332 stumble on.

I know all this sounds like I don’t like Hemingway very much. Quite the contrary—I love him. But it is precisely this love, this agony of inspiration, that writers must learn how to handle. When I was younger it was easy to read a page or two of A Moveable Feast and think, okay this is how it’s done, and immediately run to the computer or a notebook and put down a litany of irredeemably declarative sentences. Now that I am a bit older, this doesn’t happen as readily, and I am able, perhaps because of my sense of self—fragile though it continues to be—to manage it, and am able to cross the tightrope of influence and homage.

As Rainer Maria Rilke posited in Letters to a Young Poet an artist must work with whatever is only theirs, and no one else’s. This sounds easy enough, and yet it is probably one of the hardest things a writer can do, and maybe the biggest accomplishment next to putting a period on the final sentence of a great work. How does one withstand, to use a word I’ve deployed already too often, the gravitational pull of someone so monumentally important to our culture and still have faith and confidence in what they’re offering a reader? I know I used the second person when posing that question, but I am talking about myself as much as others. How was I supposed to let my own novel live when Hemingway had seemingly dashed apart my style with a few choice sentences? The word “confident” kept flooding back to my mind, because the way he comes across on the page is as someone who is so utterly convinced of his literary excellence and aesthetic brilliance that anything less—or more importantly, different—is exactly that, less.

But I am here to say: this is false. Though his confidence, even certainty in his style, made him the great writer we know him as, it does not mean other possible fictive valences are worthless, or worth less than his own. When analyzed further, how could it possibly be the only way? A signature of life is its diversity and essential uniqueness. Human beings are varied, not only in terms of race and creed, but also in personality, and yes, style. One writer cannot define the entirety of the canon, no matter how hard they try, or people try for them.

***

But again, I love Hemingway. And I also love what I am working on—you must. This may sound conceited, or foolhardy, but I think loving the pages on your desk is essential to those pages finding an audience and living. I believe a literary figure like Hemingway must be seen in the context of his times, for today, due to his lack of preamble and exposition, he might not have made it out of the pages of minor publications. But in the same way, do we judge Wilt Chamberlain, the only professional basketball player ever to score 100 points in a single game, by the standards of excellence in the current NBA? We do not.

This is all to say that ideas about the greatest writer or the greatest style are inconclusive. I firmly believe anyone, regardless of ultimate success, when they put pen to paper—or fingers to keyboard—are trying to put down the greatest sentence ever. No one enters this field with dreams of mediocrity. We slip into the ring bravely, and work with what we have, with what is most accessible; eventually, if we are lucky, we eschew all influence and find that now vague concept: our voice, that which comes solely from ourselves. We may have influences. We may have shadings in our work that relate or are in conversation with those who came before, but at heart our best work is apt to come when we are in touch with our innermost quality of command, our innermost narrative, our personal dreams. Hemingway had his dreams. And we have ours. But I suspect we will continue to box with him, and writers of all styles, backgrounds, and understandings, until this experiment ends—and let’s hope it never will.


 

 

 

 

M. G. Turner
June 2022