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369

Appreciating Russell Hoban with his Daughter Phoebe and other Writers

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Turtle DiaryLast Monday night Kyle and I went to McNally Jackson Books in lower Manhattan to celebrate New York Review of Books Classics‘ reissue of Russell Hoban’s Turtle Diary. I wrote about Hoban and the book soon after he died in December 2011, and mentioned then that the novel–my favorite among his many great books–was slated for reissue. The new edition has an introduction by novelist Ed Park, who was joined at the bookstore in discussion by novelist John Wray, translator and editor Damion Searls; and Phoebe Hoban, journalist, biographer of painters Basquiat and Alice Neel, and daughter of the novelist. Each panelist read from Hoban’s work–Park and Wray offering selections from Turtle Diary; Searls from Hoban’s children’s book classic, Bread and Jam for Frances; and Phoebe from an essay collection of her father that I believe was titled True North, and from eulogies read at his memorial in 2012. She made an interesting point about the many transitions her father experienced in his life and career. With his first wife Lillian, Phoebe’s mother, he moved his whole family from New York City to London; he evolved from writing children’s books exclusively to writing adult novels and kids’ books; and he evolved from being one of a cadre of Jewish-American novelists in a generation that included Malamud, Bellow, and Roth, to living amid a wholly new literary milieu in London.

Below are pictures from the discussion at McNally Jackson. If you enjoy Hoban’s work, I suggest you read my memorial post from January 2012.

370

Inmate Journalists and the Truths Their Books Reveal About Prison Life

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July 24 Update: Wilbert Rideau, whom I wrote about below, recently published an Op-Ed in the NY Times, “When Prisoners Protest.”
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As indicated by my mini-barrage of tweets yesterday, I was pleased to read in  this NY Times article that Angola Prison in Louisiana recently provided historical materials and artifacts to the Smithsonian’s National African American Museum of History & Culture, to be located on the National Mall in Washington, D.C.  Curators plan to actually rebuild a guard tower and inmate cell as an exhibit in the museum. Patricia Cohen’s story also examines Angola’s fraught racial history, in which it served as a kind of instrument for Jim Crow-era justice. More recently, prison officials have shown a willingness to let its record be examined, certainly more than similar penal institutions, opening a museum just outside their gates and working with the Smithsonian. I know about Angola Prison because inmates there publish an excellent newspaper called The Angolite that has won national media awards. Its editor-in-chief was Wilbert Rideau, an Angola inmate whose first trial led to a conviction and death sentence for his role in a robbery that led to the death of a bank teller. He spent eleven years on Death Row. In subsequent trials his capital sentence was reduced to life in prison. In 1975 he began working on The Angolite. In 1992, he and fellow inmate editor Rob Wikberg published Life Sentences: Rage and Survival Behind Bars with Times Books at Random House, where I began working five years later, in ’97.AngolaLife Sentences back cover

One of the first titles I acquired after arriving at Times Books–a book to which William Styron would then contribute a powerful Introduction–was Dead Run: The Shocking Story of Dennis Stockton & Life on Death Row by Joe Jackson and William F. Burke. Protagonist Stockton was a convict on Death Row in Virginia, who kept a diary in the run-up to the mass escape of six fellow inmates. His diary became a source to Dead Run co-author Burke, then a reporter at the Norfolk Virginian-Pilot. Thus, Stockton became a kind of inmate journalist, or as is said now, a citizen journalist. Because Life Sentences, drawn largely from the files and pages of the Angolite, had already sold well–I got the copy photographed below in ’97, with a copyright page which shows that even then the title had already gone through seven printings–my senior colleagues gave the nod to me acquiring Dead Run with alacrity. It received many prominent endorsements and reviews, including one in The Angolite (“Unlike other books by inmates, employees, or outsiders, Dead Run provides an authentic verified, objective view of the prison world.”). It sold pretty well in hardcover (selling about 8,000 copies) and Walker & Company published it in trade paper, with a great jacket (below). I chronicled the story of how I got Styron involved in championing the book with me in an essay I published in the BN Review, almost two years ago. The writing and publication of that personal essay led directly to my decision to create a personal blog, what became The Great Gray Bridge. The day before Halloween in 2011, I titled one of my first posts My Encounter with William Styron.Dead Run backDead Run inside frontDead Run front

In 1993 LIFE magazine had dubbed Wilbert Rideau “the most rehabilitated prisoner in America.” By then, he had already served longer than any comparable Angola inmate. He was finally released in 2005, after 44 years of incarceration, following a fourth trial in which he was judged guilty of manslaughter. His sentence on that conviction was 21 years, far less than what he’d already served.  Upon his release Rideau set out to write a memoir. Then Executive Editor with Carroll & Graf of Avalon Publishing Group, and known for publishing prison titles, I was on the submission list of possible acquiring editors for his representative, Washington D.C. attorney Robert Barnett.  Offered the opportunity to meet with Wilbert during his face-to-face publisher meetings, we did invite him to our 17th Street office in Manhattan’s Chelsea neighborhood. I recall that Wilbert came with his co-writer/partner Linda LaBranche. I found him a calm and self-possessed man, with a quick wit and an eagerness to meet my eye. I remember proudly telling Wilbert that one of the main reasons I had begun acquiring, editing, and publishing prison books, and books about miscarriages of justice, and plights of the wrongfully accused, was because of the early success of his first book, Life Sentences. 

We did bid for the rights to Wilbert’s book, putting together what was for Avalon a rather aggressive offer, but it was unavailing. Knopf got the book and in 2010 they published In the Place of Justice: A Story of Punishment and Deliverance. I see that it’s available in trade paper, ebook, etc., and got great reviews. Next to the cover is a photo of Wilbert flanked by Robert Barnett and Ted Koppel. Other important works that Wilbert has created, or cooperated in the creation of, include “The Farm,” for which he was co-director, and independent radio producer David Isay’s portrait, “Tossing Away the Keys.”In the Place of Justice Rideau, Barnett, Koppel

Please note: All the book links in this blog post are live and go to the website of Powell’s Books in Portland, Oregon, if you want to buy Life Sentences, Dead Run, or In Place of Justice. Under an arrangement I’ve made with Powell’s they return a portion of your purchase price to help me maintain this website. 

371

#FridayReads, July 5–Amy Grace Loyd’s “The Affairs of Others,” & Jaime Joyce’s Longform Report, “Burn”

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IMG_0733IMG_0734#FridayReads, July 5–The Affairs of Others, Amy Grace Loyd’s novel of domestic manners set in a Brooklyn widow’s small apartment house where residents become much more to her–and readers–than mere tenants. I made this part of my #FridayReads last week, and continued enjoying it this holiday week, finishing the book a couple days ago. I relished Loyd’s mesmerizing sentences, many of which begged to be read out loud, with a plot that I knew from the Editor’s Buzz panel at BEA would explore the the sensual and erotic. There was great restraint in the writing, and characters I came to really care for, like the resident of the top floor, Mr. Coughlan, a longtime ferryboat captain in NY Harbor. I have lived in a NYC apartment building for more than 20 years with lots of strange neighbors, so the subplots and side characters in the book were very real to me, and remain so having finished it. No spoiler here, but I’ll say it ends, as great works of art sometimes do, with a memorable meal. The novel by Loyd, who is the fiction editor of byliner.com, will be out in early September.

I’ve now moved on to read the timely piece of narrative nonfiction, “Burn” by reporter Jaime Joyce. It’s on the 1990 Dude Fire in Arizona, where professional firefighters and inmates from a nearby prison risked their lives in confronting the dangerous blaze. “Burn” is published on a new website collecting longform journalism called The Big Roundtable, where I am a reader participating in their process of selecting new stories.  The Big Roundtable is the brainchild, in part, of Michael Shapiro, a professor at the Columbia Graduate School of Journalism, and an author whose book, Solomon’s Sword: Two Families and the Children the State Took Away, I edited some years ago.

372

Celebrating Canada Day by Recalling My Canadian Vacations

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To celebrate Canada Day, I’ve scanned two photos I took during Canadian road trips some years ago, and posted them here. The lefthand image is from Peggy’s Cove, Nova Scotia, from when I was there in 1988. The other is of Roche Percé, the amazing pierced rock, from a visit to Quebec’s Gaspé Peninsula earlier in the ’80s. These were just two of the many vacations I’ve enjoyed in Canada, from Gros Morne National Park on the west coast of Newfoundland to the Cabot Trail on Cape Breton Island, to the Saguenay fjord in Quebec, to Niagara-in-the-Lake in Ontario, countless visits to Toronto, and an unforgettable train journey across the country that began in Vancouver. I say Happy Birthday to all my precious Canadian friends–you live in a very beautiful country, always close to my heart! Canada DayCanada Day 3

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Motown to Def Jam, a Quartet of Harlem Art Openings

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Kyle and I had a great time this past Tuesday at a group exhibition where she showed a new painting of hers, “Brick by Brick.” The reception was at Strivers Gardens Gallery in Harlem, one of four galleries that have held openings over the past two weeks, all part of African American Music Appreciation Month and the Harlem Art Crawl. These Motown to Def Jam exhibits have been curated by the impresario Sou L Eo. who beginning last spring asked more than forty visual artists to take inspiration from songs from major record labels (Motown, Stax, Chess, Def Jam, etc.) that over the past several decades have fueled African American music, from Motown to the Philly Sound to blues to hip hop. Sou L Eo asked each artist to choose a particular song, and allow it to inform a new work for these shows. I’ve been to two of the openings by now, and have found the work consistently bold and interesting throughout.

Kyle’s song was “Let’s Clean Up the Ghetto,” a 1977 release by the Philadelphia All-Stars with Lou Rawls on the Philadelphia International Records label. While viewing at the Strivers Gardens Gallery is generally by appointment, it will be open to the public from 1-4 PM on two upcoming Saturday afternoons, July 13, and July 20. There is also a gallery talk there on July 17 from 7-9 PM. Strivers Gardens Gallery is at 300 West 135th Street between St. Nicholas & Frederick Douglass, less than a block east of the 135th Street station stop for the ‘B’ and ‘C’ subway lines. Here are some photos from the reception starting with a shot of Kyle and “Brick by Brick,” in a photo taken by artist and writer Daniel Maidman, followed by a group shot with many of the participating artists and friends, and a shot of an informational postcard. If you’re interested in seeing more of Kyle’s work, you may visit her website at http://www.kylegallup.com/.Kyle w/Brick by BrickMotown to Def JamIMG_0729

 

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#FridayReads, June 28–Valerie Plame & Sarah Lovett’s “Blowback,” & Amy Grace Loyd’s “The Affairs of Others”

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Working my way through my BEA piles for this week’s #FridayReads: Blowback by Valerie Plame & Sarah Lovett; quite a good, pacy thriller setting an American female operative amid a covert operation to apprehend a villainous underworld puppetmaster  who’s selling clandestine nukes to dangerous international players, and killing off the operative’s sources. Coming out in October from Blue Rider Press, this is Plame’s first novel, after her 2007 Fair Game: My Life as a Spy, My Betrayal by the White House. That book was heavily redacted by the Bush-era CIA, and though it had a well-reported Afterword by national security reporter Laura Rozen, the many blacked-out passages inevitably left readers in the dark. Because I had worked on her husband Ambassador Joseph Wilson’s 2003 book, The Politics of Truth: Insider the Lies that Led to War and Betrayed My Wife’s CIA Identity, which with Fair Game had formed the basis of the Naomi Watts and Sean Penn 2009 movie of the same name, I was of course interested to read Valerie’s latest book. I had hoped it would be good, and happily have found that her first thriller, written with Sarah Lovett, has an intriguing plot with lots of surprising twists and great insight in to, and empathy for, the complex and sometimes troubled lives of undercover agents, women and men. No redactions this time around!IMG_0657IMG_0656IMG_0655

Have moved on to read The Affairs of Others, Amy Grace Loyd’s novel of modern manners set in a Brooklyn widow’s apartment house, with fascinating cross-currents among her and her tenants. Elegant and smooth sentence-making, with a plot that I know from the BEA Buzz Editors’ panel presentation on the book is going to soon turn toward the sensual and erotic. Knowing that’s to come, it’s all the more notable for its restraint in the first 70 pages. It’s worth adding that I live in a New York apartment building with lots of strange neighbors, so the subplots and side characters in the book are starkly real. The novel by Loyd, who is the fiction editor of byliner.com, will be out in early September.

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375

NXNE Day III–Six More Great Bands w/a “Best Live Show” as the Topper

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Counting up the acts I heard and the venues I visited last week NXNE in Toronto I see that over the four days of live music, I heard thirty acts at sixteen different venues, including outdoor events in Trinity-Bellwoods Park; in-store shows; and nightclubs. Even so, there were at least a dozen or two more acts I really wanted to hear, but whose shows I just couldn’t get to. I’ll be making an effort to listen to their recorded music over the coming weeks and months, and before I’m done covering this year’s NXNE I’ll mention the bands I couldn’t get to hear. Much as I’d like to say I found time this year for a film or a comedy club, I limited my recreation to live music. Even at that, I missed lots of acts I would like to have heard. I  hope one of these years to catch a documentary or some comedians. While still in Toronto I posted about Day I (Wednesday) and Day II (Thursday) and about the CBC Radio 3 picnic, on the Saturday afternoon. Now that I’m back in NYC, caught up on other work, and with all my pictures downloaded and cropped, I’ll write here about the the live shows I heard on the Friday of NXNE.
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The Urban Outfitters store on Queen Street West has a second level that is actually not a bad performance space. Late Friday afternoon I went to hear the duo Dusted, with exciting electric guitarist Brian Borcherdt, formerly of the band Holy Fuck. During NXNE 2011 I heard Borcherdt play solo, so it was nice to hear him working with a drummer, who also had a keyboard nearby. Dusted plays a raw, basic sound that was easy to like, and quite melodic. In Spin magazine, the single from their album “Total Dust,” got this praise:  “'(Into The) Atmosphere,’ is ‘a dewy lo-fi pop ramble, with sweetly multi-tracked vocals, cavernous layers of melancholy guitar strums, and galloping, off-kilter percussion.’”28 Brian Borcherdt

A party for the end of the CBC Beetle Road Trip was the next item on the Friday afternoon/early evening schedule, the culmination of the 7000KM drive taken in a Fender guitar-branded VW. CBC Radio 3 host Grant Lawrence helmed the drive, with CBC staffers Brian Cauley and Brent Hodge producing audio and video content for CBC Music. The caravan (they actually had two cars) stopped in different cities along the way and taped live sessions with more than a half-dozen Canadian indie groups. The arrival party was a blast, with The Darcys playing. They gave Grant a Blue Jays cap. I’m going to write about it separate from this post. Meantime, here’s a picture of Grant’s arrival:28b Beetle

From CBC HQs I walked north and east to the Cameron House on Queen St. West where ManitobaMusic.com was holding a showcase, with country singer Kayla Luky and her band up first. I had not heard her before, and was pleasantly taken with her clear voice, original songs, and her excellent lead guitarist, who looked like he just got down off a hot tractor, in overalls and sleeveless flannel shirt. 31 Kayla Luky

I’m a big fan of Winnipeg band Imaginary Cities, and though I’ve seen them several times before, I made a point of catching their set this night at the Mod Club. This was a much larger venue than I’d ever heard them play before, and their power pop sound, with Marti Sarbit’s intensely likable voice, was well up to the task of filling the big space and capturing the interest and attention of a couple hundred listeners, many of whom it seemed hadn’t known this great band or their songs at all. Their second album, “The Fall of Romance,” has been about a month, and by now, I like all the songs from it as well as their great debut, “Temporary Resident.”32a Imaginary Cities

After leaving the Mod Club I remembered I hadn’t had dinner, so I stopped at a vendor’s stand on College Street, where a street festival was in full swing. I bought a pulled pork sandwich and munching away, walked down Ossington Street to the Dakota Tavern to hear Paul Langlois, a veteran member of one of Canada’s long-lived and most popular bands, The Tragically Hip. The Dakota is a great venue with a relaxed vibe where acoustic players and pickers are often showcased–on weekend mornings they even serve a bluegrass bunch. But the band Langlois assembled for this show–a high-revving 4-piece–was no stripped-down outfit, including as it did the Hip’s shredding lead guitarist Rob Baker. This was meant to be a showcase for Langois’ own material, and though I’d never heard these dark excursions in minor keys, my ear took right to them.34 Paul Langois

Another act soon took the stage at the Dakota, a band called Tin Star Orphans. I had time to listen to only two of their country rock songs, but I liked what I heard.  34a Tin Star Orphans

I now had about twenty minutes to get to my next show with The Matinee, a great live band from Vancouver, British Columbia, who were scheduled to play a 1:00 AM show at the Supermarket, near my hotel in the Kensington Market neighborhood, where Shred Kelly had killed it the night before. I didn’t want to be late so took a cab down Dundas Street and walked the rest of the way up Augusta Street to the club. When I arrived I saw lots of friends from the CBC Radio 3 fan community. The Matinee had played on 2012’s Track on Tracks rock n’ roll extravaganza which traveled with ten bands and lots of fans from Vancouver to Toronto, a railroad excursion that made The Matinee fan favorites of many folks. I had heard and enjoyed them last year, but the set they played this night was leaps beyond anything I’d heard from them before. The songs on their one album, “We Swore We’d See the Sunrise,” are bright and country-tinged with sweet harmonies (listen to “Sweetwater” for latter-day Everly Brothers harmonies). They also blessed to have as their lead guitarist Matt Rose, a true guitar god sort of player. He’s tall and athletic in his movements, with long arms and legs, long black hair, and just a stunning riff-ripper. He clearly relished and fed richly off of the audience’s boisterous enjoyment of his cutting lines. During their encore he jumped down from the stage in to the audience, playing right among us. At the end, he heaved his acoustic back on the stage as a kind of declamation of satisfaction, not worrying about the instrument. Here are a couple pictures from The Matinee’s great show, one of the very best shows of my NXNE. In the first pic, that’s Matt Rose on the right, playing a Fender Telecaster and moving so quickly I couldn’t capture him in focus, flanked by lead singer Matt Layzell. The second picture shows Matt Rose and bandmate Geoff Petrie amid the crowd during that wild encore.

36 Matinee37 Matinee
Before going to bed that night I tweeted this:

After I got back to NYC from Toronto, CBC Radio 3 Fan of the Year Christine McAvoy, a professional photographer, shared many of her NXNE pictures, including this one (on the right). In it I am surrounded by R3 friends, listening to The Matinee at a quieter moment of their show, holding my IPad, and tweeting about it in real time. Since I started writing this blog it’s the first “action shot” of me, so to speak, at work. I thank Christine for quickly giving permission for me use it here.
PT at The MatineeTo return the favor, the next photo (on the left) shows Christine (holding her camera high, in straw hat) at The Matinee show during the encore. 38 Matinee

My friends were moving on to a 2:00 AM show with We Are the City, but I declined to join them, feeling satisfied to end the night with The Matinee’s show. I headed back to my room so I could get some sleep before a Saturday morning breakfast with book business friends Michael Martin and Margot Stokreef.

376

Still More to Learn about Corporations’ Complicity with the Third Reich

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July 3 Update: Owing to the NY Times article I cited on first publication of this post, Publishers Weekly reports today that Harvard University Press has moved up by two weeks the release date of The Collaboration: Hollywood’s Pact with Hitler. I’m pleased to see so much early momentum gathering for this important book.
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In 2000, while an editor at Crown Publishing, I acquired a book that later became an international sensation and a bestseller in the US. It was IBM and the Holocaust: The Strategic Alliance Between Nazi Germany and America’s Most Powerful Corporation by Edwin Black. I believed it was imperative that the book be published because it documented hitherto unknown revelations such as the fact that IBM’s punch card tabulation system was licensed to the Third Reich which then used the technology to catalog and keep track of Jews and others under its rule they deemed undesirables. Turned out that corporate complicity with Hitler was as American as cherry pie.IBM

In the years since Black’s book was published, I’ve seen a lot of other histories of the Third Reich, but few have struck me as packing the same historical punch as the book on IBM. Until today, that is. Reading the NY Times on the web, I saw this headline, “Scholar Asserts That Hollywood Avidly Aided Nazis,” tipping an article about a forthcoming book,  The Collaboration: Hollywood’s Pact with Hitler, by Ben Urwand, a 35-year old historian from Australia. The story by Jennifer Schuessler reports Urwand has found copious documentation showing how very willing Hollywood executives were to make their movies in ways that would please Nazi officials, including Hitler himself. Some of these execs were Jewish, but they cooperated anyway. The Times reports that in Urwand’s book,

9780674724747“On page after page, he shows studio bosses, many of them Jewish immigrants, cutting films scene by scene to suit Nazi officials; producing material that could be seamlessly repurposed in Nazi propaganda films; and, according to one document, helping to finance the manufacture of German armaments.”

Urwand also found that Jack Warner, of Warner Bros., personally ordered that the word ‘Jew’ be removed from all dialogue in the 1937 film ‘The Life of Emile Zola,’ which focused on Zola’s defense of the persecuted Jewish soldier, Alfred Dreyfus. Mr. Urwand writes that Warner Bros. was the first studio to invite Nazi officials to its Los Angeles headquarters to screen films and suggest cuts. . . . ‘There’s a whole myth that Warner Brothers were crusaders against fascism,’ Mr. Urwand said. ‘But they were the first to try to appease the Nazis in 1933.’”

The cooperation, or as the author insists, collaboration, continued until well after Kristallnacht in November 1938. He found evidence that in December 1938, MGM was financing German armament production as part of a deal to circumvent restrictions on repatriating movie profits, according to the Times, which adds, “Urwand said that he found nearly 20 films intended for American audiences that German officials significantly altered or squelched. Perhaps more important, he added, Jewish characters were all but eliminated from Hollywood movies.”

I’m eager to read Urwand’s book when it comes out in October from Harvard University Press, and in the meantime I recommend you read Schuessler’s story. There’s also been early coverage of Urwand’s book in Tablet magazine in an article by David Mikics. And here’s video of Urwand talking about his book: