The Seattle Review of Books http://seattlereviewofbooks.com/feed.xml Fri, 20 Apr 2018 19:08:13 GMT Copyright © 2018, The Seattle Review of Books The Help Desk: Librarian.exe is not responding 11a56e1b-eb85-c6e0-34df-68c69b9fe249 2018-04-20T12:01:00-07:00 Cienna Madrid http://seattlereviewofbooks.com/writers/cienna-madrid/ Every Friday, Cienna Madrid offers solutions to life’s most vexing literary problems. Do you need a book recommendation to send your worst cousin on her birthday? Is it okay to read erotica on public transit? Cienna can help. Send your questions to advice@seattlereviewofbooks.com.

Dear Cienna,

I’m lucky enough to have a library branch within five blocks of my apartment. I use it all the time.

The other week, I was visiting the library. It was very slow in there; maybe one guy at a computer and a teen reading a comic in the kid’s section. When I went up to the person behind the counter to check out a DVD and a book, she wordlessly pointed to a self-checkout kiosk.

I was a little annoyed by this. Cienna, I know libraries aren’t bookstores and I don’t expect stellar “customer service” from them. But is it too much to expect a little bit of a human interaction from my library visits?

It seems like everyone is automating their customer experience, and it drives me nuts. I’d prefer to have my libraries staffed by human beings, not by reshelving robots. Am I expecting too much?

Todd, [neighborhood withheld to avoid incriminating a library staffer]

Dear Todd,

In situations like this, I like to use my imagination to be as generous as possible to human irritants. Perhaps said librarian was having a particularly nasty battle with her hemorrhoids that day, or perhaps her spiders had just served her with an eviction notice because she still won't shut up about Jill Stein. People, especially those working in customer service, should be given leeway to have bad days – perhaps she was trying to spare you hers.

That said, if the pattern continues, I suggest next time telling the librarian you are allergic to laser beams and politely making her do her damn job. Having a laser allergy should be completely credible hypochondria in Seattle at this point, but if she questions you on this – which she shouldn't because unlike Jill Stein, she is no doctor – offer to give her a urine sample. I have found that most people stop asking me stupid questions the moment I rebut them with urine.

Kisses,

Cienna

BONUS QUESTION:

Dear Cienna,

I have a friend who is always trying to do something weird with books. Like, he was really into internet experiments with choose your own adventures, and hypertext. Then, he obsessed over House of Leaves, and wanted to make something similar: Book formatted so that you have to turn it around and upside down and leaf back and forth. He longs for multiple text colors, complex fonts, and gold leaf foil-stamps on his blind embossed cover.

He also can't tell a story. If he wrote this email it would be twenty-thousand words, most of them too boring to read. I don't have a question. I'm just sick of his shit and wanted to tell somebody.

Sheryl, Shoreline

Dear Sheryl,

I have a friend who is always trying to fuck her sister's husband, like this weekend for example. I envy your taste in human friends. Do you perhaps want to trade?

Kisses,

Cienna

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Aaron Bagley's Dream Comics: ex boyfriend faa6f2f1-47ad-130a-8413-243333508ec5 2018-04-20T10:00:00-07:00 Aaron Bagley http://seattlereviewofbooks.com/writers/aaron-bagley/

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Portrait Gallery: New Books 9fb92662-e21e-5382-2361-6e4f09092ce6 2018-04-19T14:00:00-07:00 Christine Marie Larsen http://seattlereviewofbooks.com/writers/christine-marie-larsen/ Each week, Christine Larsen creates a new portrait of an author for us. Have any favorites you’d love to see immortalized? Let us know

Thursday, April 19: Dock Street Salon

Two local authors who have published new novels in the last few months, Anca Szilágyi (author of Daughters of the Air) and Ross McMeekin (author of The Hummingbirds), will read and discuss what it’s like to publish a new book.
Phinney Books, 7405 Greenwood Ave. N, 297-2665, http://phinneybooks.com, 7 pm, free.

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Book News Roundup: SIFF debuts with a book-themed film next month cdb238e6-fc7b-0f2a-dbdb-1348a2f1d39c 2018-04-19T11:55:00-07:00 Paul Constant http://seattlereviewofbooks.com/writers/paul-constant/
  • This is pretty neat: The opening night film at the Seattle International Film Festival will be The Bookshop, which is an adaptation of Penelope Fitzgerald's popular novel about a widow who opens a bookshop and teaches a town to love literature. It's directed by Isabel Coixet and it stars Emily Mortimer, Bill Nighy, and Patricia Clarkson. The film will screen at McCaw Hall in Seattle Center on the first day of the festival, May 17th. Here's a trailer:
  • “Political disagreements are one thing. Threatening to burn down a bookstore is another, and is unacceptable,” said Summer Lopez, Senior Director of Free Expression at PEN America. “While protests and calls to boycott are of course free and protected speech, that is no excuse for threats, violence, or sustained harassment. Now more than ever, we need to recognize and cherish the right of bookstores to offer books with diverse points of view from across the political spectrum.”

    ]]> Thursday Comics Hangover: Nancy gets fancy e6e1cb88-501f-7c95-1a02-6cccf54b1c40 2018-04-19T10:01:00-07:00 Paul Constant http://seattlereviewofbooks.com/writers/paul-constant/ On April 9th, a new cartoonist using the pseudonym "Olivia Jaimes" took over the daily Nancy newspaper comic strip.

    The Nancy strip has often been a bastion of anti-art. Ernie Bushmiller's original Nancy comics were always so vacant in plot and in ambition that they practically demanded readers to fill them with meaning. They looked so clean and neat and geometric that they appeared to be untouched by human hands, and the behavior in the strips bore no resemblance to real life. Nancy and her friend Sluggo didn't act like people. They acted like characters in comic strips. They went to soda fountains and hung around butcher shops. They said things that could only make sense if you were saying it to telegraph a punchline in a comedy bit.

    The Nancy strip has always been a postmodern joke about comic strip jokes, a strange antiseptic world so generic that you wouldn't be surprised to find that Nancy's word balloon in the last panel of any given strip read "INSERT PUNCHLINE HERE." After Bushmiller passed away, artists like Jerry Scott and Guy Gilchrist tried to capture Bushmiller's odd sense of humor, but they mostly succeeded in creating a generic comic strip about a little girl who was kind of a dick and her weird dumb bald friend.

    Jaimes, though, adds something new to the strip: a perspective, style, and voice. Most of Jaimes's strips so far have had to do with modern life. There's an awkward earbud joke, and a few jokes about social media. (In one self-referential panel, Jaimes intrudes to say that "Any questionable art from now on is because Nancy and Sluggo are using a Snapchat filter.") But the best of the strips trade on Nancy's long history of self-absorption. Nancy admits to Sluggo that her goal in life is "to be famous without having to work," for instance.

    My favorite of Jaimes's work so far was published on Tuesday, and it manages to combine Nancy's horrid lack of self-awareness with a fairly up-to-date topic: social media bots.

    That last panel, with Nancy's resentful face and the absurdity of Sluggo-bot, is just about perfect. Obviously, real people directly in front of you can't be bots, but Nancy can't fathom dissent and so she questions her friend's free will. You could almost picture our president appraising a reporter with this same entitled sneer on his face.

    Nancy fans — and yes, there were some — naturally hate the new stuff. On the sit GoComics, Lambert2015 commented on the above strip:

    I just can not get into the new Nancy..just not what I enjoy reading with my breakfast. Bye, I will unfollow this comic

    And someone named Chirp writes:

    I don’t like this crap and just unfollowed this destruction of a 70 year old comic strip. Millennials, IF they read comics, will LOVE the fact that the RACE of 1 of the main characters has now been changed. I wonder when their sex lives will?

    I have no idea what Chirp is talking about with regard to race — perhaps they're referring to the strip's new color palette, which uses more browns and yellows than past Nancy strips? If so, yikes.

    And the complaints just keep coming. A user named JLG complains, "So far, this new version of Nancy seems rather unfocused and hard to really sink your teeth into," as though you could really devote three or four hours to the substance of a single Nancy strip by Gilchrist or Bushmiller.

    Any change on the comics page always evokes a litany of complaints from hardcore fans. Comic strip followers seem to be a pretty conservative bunch, and they absolutely hate change. But the hate Jaimes is receiving is something else again — you'll find a lot of men in the comments raging against her and claiming that she was just an affirmative action hire and needs to be replaced, presumably by a man, immediately.

    As for me, I'm a big fan of Nü Nancy. I think the strip is calling back to Bushmiller's bone-dry sense of humor, and Jaimes's idiosyncratic art is endlessly appealing. She's got Bushmiller's sense of minimalism down, but now Nancy looks like an alternative comic. It's a vastly different interpretation than Bushmiller's — weird and wavy as opposed to angular and antiseptic — but it works perfectly in this most meta of comic strips. I'm willing to bet that in six months, the haters in the comments will either have moved to a conservative comic strip (do they still make Mallard Fillmore? If so, why?) or they will have died of old age. We're seeing the eternal struggle between baby boomers and millennials playing out on the comics page, and the sheer weight of time indicates that you should probably put your money on the younger of the two.

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    Read all about the new Hugo House 551154e6-939d-9bbd-9604-5ea6ea641ab0 2018-04-18T12:23:00-07:00 Paul Constant http://seattlereviewofbooks.com/writers/paul-constant/ Lora Shinn at Poets & Writers offers up the most enticing description of the new Hugo House space that I've encountered:

    The interior of the building will be full of surprises and unconventional design elements. Each classroom will be constructed of different materials, including wood plank, cork, and frosted glass, with dry-erase walls for impromptu class notes. The house will also feature “staircases to nowhere” and benches that double as bookcases. A “pencil wall” in one classroom will hold hundreds of pencils. Curated quotes from Richard Hugo will be hidden around the building: near electrical outlets, at the edge of a restroom mirror, or in peekaboo windows. “You might find a quote on the ceiling,” Mullenix says, “and it will hopefully encourage people to come back.”

    I can't wait to see some of these touches in person. Those who were complaining about Hugo House becoming a generic new building might wind up eating their words. If you'd like to help make this space into a reality, you can donate to the Hugo House online.

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    Conflict of interest alert: Nisi Shawl to publish middle reader novel next fall 868b4334-43c7-96a2-9993-aa656d501da7 2018-04-18T11:28:00-07:00 Paul Constant http://seattlereviewofbooks.com/writers/paul-constant/ Yes, Seattle novelist Nisi Shawl is a columnist on this website, and that is a conflict of interest. But dammit, I squealed when I read this tweet, and you should get excited, too:

    When Shawl published Everfair a year and a half ago, I worried that we'd have to wait five years or so for her next book; thankfully, I was wrong by almost half.

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    Bring your own book to Book Club, the most literary improv show in the known universe 6f217862-9ac5-4c7a-5bd6-695b09dcdcc0 2018-04-18T09:51:00-07:00 Paul Constant http://seattlereviewofbooks.com/writers/paul-constant/

    Alison Luhrs (left in the above photo) and Amalia Larson (right) regularly perform an improv show called Book Club, in which they play a pair of "shallow, well-off adults discussing a book supplied by the audience while consuming a massive amount of wine." Their next performance is this Sunday, April 22nd at 5:30 pm at the Pocket Theater. In this interview, they discuss the books that they've most loved to riff on, the books they most love in real life, and what you should expect from Book Club if you've never attended in improv show before.

    This is such a great idea for a show-I imagine getting good audience suggestions is one of the most tricky things about improv, so it seems like the books must help to focus the show. Could you explain the premise in your own words? And did this show's premise evolve, or did it come to you fully-formed?

    ALISON: Book Club is about extraordinarily priviliged, trend-obsessed people with zero self-awareness trying to use literature to relate to their lives. We get a book from the audience, and the premise of the show is that we are the only two members who remembered to show up to their monthly book club meeting. We then crack open a bottle of wine (dry and slammable is our go-to) and pretend we've read the book before reading passages out loud. The passages serve as a launching-off point for the characters to talk about their lives and occasionally have profound revelations about the way they see the world. The book provides us thematic direction that always gives the characters something new to connect with. The women we play are sometimes secret shoplifters, sometimes cheating on their husbands, sometimes falling in love with each other, sometimes addicted to painkillers, but always contain a secret depth. They're the kind of people who use acai bowls and soulcycle classes to show the world how put-together they are when everything is falling apart.

    The show concept originally came from Amalia and I making fun of trend-obsessed mommy bloggers, which quickly devolved into us revealing tragic backstories for imaginary people we were just making fun of. Seattle's Improv scene is having a real explosion of experimental unscripted theatre right now, and we've been performing together for ten years, so the show felt like it would be fun!

    AMALIA: Yeah, the show itself has evolved some and obviously the content is different every time, but the premise has pretty much always stayed the same. As we were starting to really get into it riffing on this idea, we discovered that there is basically endless material to be found within the archetype of these vapid, secretly desperate, moneyed women. We could throw these characters into a slice-of-life type setting with just a suggestion for an idea from the audience and there would be plenty to run with (or Zumba with, or Kegel with, pick your poison), but having the addition of the book from the audience keeps the surprises coming in real-time for us and gives us a device to build tension, break it, give a moment a button or an ally-oop, and even lovingly throw each other under the bus once in a while. We've got to stay on our toes after all.

    I used to run the book clubs at Elliott Bay Book Company, and it seems as though "book club ladies" are a relatively easy target for mockery. There are a ton of easy book club jokes in pop culture-mean-spirited jokes about rich white ladies who drink a lot and can barely read, which doesn't reflect the reality of book clubs as I know them. You play with these expectations but you don't come from a place of superiority. How do you manage to avoid the cliches and find something worthwhile to investigate in your characters? Have your relationships with the characters changed over time?

    ALISON: The best part about comedy is being able to trick an audience into caring about someone they were just laughing at. Flipping the power structure not just onstage, but between how the audience views the subject. Our women are wealthy, fixated on appearances, but at their core are desperate for meaning and connection. One of my favorite devices we use in the show is that we allow for one or two 'drops' -- moments when one of the characters will have an honest-to-god deep thought, only to be broken out of the trance a moment later by the other woman purposefully changing the subject. It's totally uplifting and deflating at the same time, and is born entirely out of a character choosing to be introspective for possibly the first time in their life, all thanks to whatever text they were just reading a passage from. We adore these characters, and I think we can mock their pretentions without mocking their personhood. All people are worthwhile, even the ones you avoid when you go to Whole Foods.

    AMALIA: I feel like those clichés are a gift! Everyone knows exactly the type of people these characters are referring to which makes it so fun to use the known aspects of the stereotype as a spring board. Moments of shallowness or obliviousness that play directly into the stereotype make people laugh because they feel spot-on or eyeroll-inducingly familiar, but moments that truly break the clichés and reveal something of more substance are disarming specifically because they are unexpected from these characters you thought you knew so well a minute ago. When the armor is polished to perfection, it's that much more surprising to find the cracks. Being aware of where we're playing in relation to those edges, I would say, is a huge part of the fun. But at the end of the day, the most important part is that it all comes from a place of love rather than ridicule. These women care so earnestly about who and what they care about, that's where the humanity lies, but what they care so much about is, you know, designer yoga mats and who brought the best snacks to the peewee lacrosse championship, that's where the comedy lies.

    Have you ever belonged to a real book club? What books do you like to read?

    ALISON: I make fantasy games for a living, so staying up on my SFF is important. I subscribe to Uncanny Magazine for SFF short stories, and survive otherwise on a steady stream of Tor novels. All that magic and wonder can be a bit overwhelming at times, though, so I also try to dabble in nonfiction to cleanse the palette. I recently finished The Only Harmless Great Thing (which if you like alt history with radioactive elephants is a real gem) and am about halfway through I'll be Gone in the Dark, so I'm sort of all over the place with my reading list.

    AMALIA: Honestly, I read almost exclusively nonfiction, I'm kind of a creature of habit like that. My favorites are usually either research-driven social science - most recently Bonk by Mary Roach and The Power of Habit by Charles Duhigg, or personal essays and memoirs like Sloan Crosley and Augusten Burroughs and anything ever by any Sedaris. I try to keep up on the books my favorite comedy folks write too-the Oswalts and Poehlers and Martins of the world. It's good to have role models. And this show is the only book club I've ever been a part of so far, but I'd be down.

    Do any books make repeat performances in the audience? Are there any books you maybe wish you could ban from the show, or that you've mined to the point of diminishing returns?

    ALISON: We've never had a repeat book! We've done Starship Troopers, The Fish Won't Let Me Sleep, even a physics text originally written in Japanese and translated into English. With that last one we learned the hard way that academic texts don't necessarily make for funny passages.

    AMALIA: I don't know though, we had that one really thick textbook from the seventies about family psychology and that was a pretty good one. I keep waiting for someone to bring in like a dictionary or a bible or phone book or something (they still do phone books, right?). I'm sure we'd make it work, but that would definitely be a curveball. It's more fun and we find weirder stuff when we just pick something arbitrarily and it turns out to be way out of left field.

    What are some memorable books you've worked with? Is there a formula for choosing a good book to work with?

    ALISON: The best ones are the weird ones. Fish Won't Let Me Sleep had a lot of passages about spawning patterns, which is just about the deepest well in comedy, so that was great.

    AMALIA: Fish Won't Let Me Sleep, FOR SURE. I think if anything, the formula is just to not overthink it. If you just pick that random historical fiction novel your uncle gave you that one Christmas that you've never read, odds are good that's gonna be the real winner.

    I recall being intimidated before I attended my first improv show. Do you have any advice for SRoB readers who are considering coming to your show who have maybe never attended an improv show before?

    ALISON: There is nothing worse than invasive improv. Having a stranger demand you answer questions and possibly get onstage is THE WORST THING EVER, and it's okay to hate things that are invasive and terrible. A good performer will always ask, will never touch, and isn't going to bother you if you don't want to be bothered with. Volunteering a friend never works either -- that's always a cue for me to swoop up the obnoxious friend who did the pointing.

    The good news is that you won't have to worry about that with our show! Seattle's please-don't-talk-to-me attitude applies to our improv scene, too, and the nice thing about improv in the Pacific Northwest is that in our theatrical community we like our shows to feel like plays (it's something that really sets our scene apart from the rest of the country). If we can make you forget we never memorized lines, we've succeeded. All you need to know if you see our show is that at the beginning we'll ask the audience if they would like to let us borrow a physical book for an hour. We'll collect the book, and then the show will start! And we'll never ask you a question again for the rest of the show! Hooray! A good rule of thumb in improv is that you don't need to yell unless someone on the stage asks the audience a question. We also recommend the audience buy some wine from the concession stand and drink along - it'll only make us funnier. Come expecting to watch a play, because that's what unscripted theatre is!

    AMALIA: Yes to all of that so much. There is nothing worse than improv that tasks the audience with making the show funny or not. Being part of a show is great! Being part of a show against your will is awful. If you come to Book Club, you should feel kind of like you're just sitting in on a meeting of a real book club that just happens to be with the kind of people who know the difference between a decent fumé blanc and trash, and prioritize the health of their nail beds over real literary analysis or personal reflection. It's a really good time.

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    Every inmate deserves the right to read 25a870fa-8816-2c17-14f0-8d28f0747f74 2018-04-17T13:04:00-07:00 Paul Constant http://seattlereviewofbooks.com/writers/paul-constant/ I do not always endorse online petitions unless they have a specific target in mind — an online petition is a great way to tell an elected official that people are paying attention, for instance. But this Daily Kos petition is very important for another reason — it raises awareness of a serious issue that affects a segment of the population that is too often rendered invisible.

    The petition is to let New York state know that every inmate in every correctional facility should enjoy the right to read. This is a right that has been under attack too often in recent years, as access to books has been denied by prisons from coast to coast.

    In Texas, the Department of Criminal Justice banned 15,000 books from prisons, including books by Alice Walker, John Grisham, Jenna Bush Hager and Bob Dole. However, Texas continued to allow books by Adolf Hitler and David Duke.

    In New Jersey, several prisons had banned The New Jim Crow: Mass Incarceration in the Age of Colorblindness, until the ACLU of New Jersey objected.

    This is unacceptable. Every American should enjoy access to reading materials — no matter how poor, no matter what they did in their past. Reading helps to create better, more empathetic people. And the minute we deny prisoners' accesss to books, we're admitting that the goal of a prison is not to reform, but merely to lock people away forever. Every prisoner, no matter how heinous their crime, deserves access to books. Sign if you agree.

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    The voices in your head c58dcf7d-a85d-d7c2-d238-6d25ac2689f3 2018-04-17T11:55:00-07:00 Paul Constant http://seattlereviewofbooks.com/writers/paul-constant/ Here's a never-fail prescription for finding a book to break through the reading doldrums: walk into a bookstore and ask a bookseller what they've absolutely loved lately.

    Not so long ago, Third Place Books Managing Partner (and American Booksellers Association President) Robert Sindelar raved to me about Akwaeke Emezi's debut novel Freshwater. A few days after that, Elliott Bay Book Company reading coordinator Rick Simonson told me he'd fallen in love with Freshwater over a year ago in manuscript form. When one bookseller gushes about a new release, that should get your attention. When two booksellers bring it up independently of each other, you should pick up the book immediately.

    Freshwater is a story of a young Nigerian woman who attends college in America. Ada is intelligent and brave and she has many personalities inside of her. Those personalities, united into one chorus named "We," narrate much of the beginning of the book.

    Saul and Saachi had allowed the Ada to have a childhood that was, in a town full of death, unusually innocent. They didn't believe in interfering with the child's imagination, and so when the Ada finished one of her many books and decided that she could talk to animals, no one corrected her. "It did no harm to let her believe that," Saul said, and the Ada continued to believe wildly, in Yshwa and fairies and pixies living in the flame of forest blossoms. She believed that the top of the plumeria tree in the backyard could be a portal to another world, and that all magic was stored outside in leaves and bark and grass and flowers. These things that she believed in meant that, although she did not know it yet, she could believe in us.

    Some of Ada's most self-destructive traits manifest in the other personalities. Ada takes part in more and more risky behavior like casual sex and cutting ("The skin sighed apart and there was a thin line of white before it blushed into furious red wetness.") and as she does, her personalities become more acute. They take on names and seize control of the body for long periods of time.

    One of the personalities names herself Asughara, and she comes out, most often, when Ada has sex.

    There was only me. I expanded against the walls, filling it up and blocking her out completely. She was gone. She might as well have been dead. I was powerful and I was mad, he could not touch me no matter how hard he pushed into her body, he could definitely never touch her. I was here. I was everything. I was everywhere. And so I smiled at him, using only Ada's mouth and teeth.

    "She wasn't sure we were real, but nothing about us felt false," Asughara says. Is this a story of multiple personality disorder? Or is something else going on here? Emezi incorporates Nigerian mythology and Western religion into Freshwater, and the voices refer to their own divine inspiration. They believe that they are a sort of pantheon, living in a marble heaven in Ada's head.

    These voices in Freshwater - the chorus of personalities - should feel familiar to anyone who spends a lot of time lost in books. What is reading, but inviting another voice to take up residence in your head? Emezi's voice is hypnotic and powerful and imaginative, leaving the reader unsure of what in the story is real and what is not.

    Freshwater at times feels a little too unmoored from reality. Some scenes lack a sense of place or a narrative thrust. In those parts of the book, the reader is left floating in a sea of language which sounds pretty, but which doesn't seem to be actively describing anything. But then something vivid and clear happens - Asughara turns the tables on another domineering man with her unbridled sexuality, say - and Emezi's prose calls the reader to attention.

    Freshwater embeds you deep into Ada's mind, demanding that you feel what this young woman feels, that you see the world the way she does. It is not an easy experience; it's a story of trauma and violence and heartbreak. But it's also a story of survival and strength and of coming to terms with what it means to survive.

    And maybe most important of all, it's a story that will remind you of the importance of reading. In a time in which you can stream any number of guilty pleasures online at any moment of any day, Freshwater will remind you that some stories can only be told in a book, that reading - unlike other storytelling media - can actually change the way you perceive the world in a literal sense.

    So if it's been a while since you've read a book that subsumed your experience, that reminded you to crawl outside yourself, you need to give Freshwater a try. In a world crammed to the heavens with unnecessary books, this is a book that demands to exist as a book. If you're sick of spring showers and the relentless terrors of the news and the exhausting prospect of reading James Comey's memoirs, you should listen to the professional book-lovers among us - the booksellers - and take a long, slow swim in Freshwater to remind yourself why you love reading in the first place.

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