Carl travels with Milwaukeean Joe Caldwell to promote The Pig Did it and sequel

So it turns out that Joseph Caldwell, of The Pig Did It and The Pig Comes to Dinner, is from the Milwaukee area! Carl Lennertz of HarperCollins, who was travelling around with him in New England, and writes about it on Shelf Awareness, called a couple of weeks ago and mentioned that Joe would love to come by, say hi, and sign stock today.

Alas, we already have Fran Slayton speaking in the back of the store, for her book When the Whistle Blows. ( That's tonight, Monday, at 7 PM. Read more here).

In the front of the store, I am leading a discussion of Aleksander Hemon's The Lazarus Project, also at 7. (Note: I ran into Carolyn, a regular customer, on my way to get soup for lunch, and she told me she was enjoying it. It's going to take a year to build this book club into something respectable. Hemon's appearing on Friday at 7. Read more here. Also, an interesting Q&A was featured in the Cue section of Sunday's Milwaukee Journal Sentinel. He's still coming on Friday, July 10th, at 7 PM.

So anyway, Mr. Caldwell is stopping by with his sister today. We'll have signed copies of The Pig Did it and its sequel, The Pig Comes to Dinner. Next time, I hope to have a full-fledged reading.

Here's a taste of Caldwell's book from their web site:

What the pig did – in Joseph Caldwell's charmingly romantic tale of an American in contemporary Ireland – is create a ruckus, a rumpus, a disturbance . . . utter pandemonium.
Possibly the most obstreperous character in literature since Buck Mulligan in James Joyce's Ulysses, Mr. Caldwell's pig distracts everyone from his or her chosen mission. Aaron McCloud has come to Ireland from New York City to walk the beach and pity himself for the cold indifference of the young lady in his writing class he had chosen to be his love. The pig will have none of that.

Read more here.

What the New Novels by Aleksandar Hemon and A. Manette Ansay Have in Common--Besides Both Being Upcoming Boswell Events

I've just finished reading A. Manette Ansay's novel Good Things I Wish You. It's a contemporary story of Jeanette Hochmann, an Ansay-like character, newly single, and tentatively setting her foot in the dating world. She's researching the life of Clara Schumann, the noted pianist and composer who had a somewhat troubled marriage, but a very rewarding friendship (and perhaps more) with the young Johannes Brahms.

The story jumps back and forth between contemporary Florida and 19th century Austria. Each story is also told in a wandering manner, with Jeanette's meeting of the enigmatic Austrian inventory Hart told ostensibly linearly, but with missing pieces, and Clara's in more of a poetic fashion. Or possibly a musical competition, with themes returned to and words used almost like musical images, rather than telling a story.

Ansay reinforces this literary collage style with photos, artwork and letters amidst the story. Sometimes the pieces are literally also collages, whereas othertimes they are photos or artwork. It's a narrative technique of mixing modern styles with a classic story and I'm looking forward to Ansay tell us more about it on Saturday, July 18th, when she visits us at Boswell.

So I pick up my next book and it's Aleksandar Hemon's novel, now in paperback, The Lazarus Project. (We also have a few hardcovers). Hemon is visiting us the week previous, on July 10th, at 7 PM, and I'm leading a discussion of the book at our book club on Monday, July 6th, also at 7. Hemon will also be talking about his new hardcover collection of stories, Love and Obstacles.

Hemon's novel is about Vladimir Brik, a Bosnian emigre, who left Sarajevo for Chicago just before the war broke out, leaving him stranded. Hemon uses these details of his own life as a jumping off point for his fiction, and then sends the stories off in a hundred (someday, a thousand?) different directions.

In this case, Brik is married to a surgeon, has lost his job as a teacher, and is writing columns for a free weekly. What he wants to do is complete his novel on Lazarus Averbuch, a Jewish immigrant who was murdered during the Anarchist scare of the early 20th century. The story jumps back and forth from current times to 1980 (or perhaps a novel set there). It is filled with old (perhaps real, perhaps not) photographs, some retouched.

I'm not finished with The Lazarus Project, so I can't analyze it. But I'm fascinated by how two wonderful writers had such points of similarity in their telling of very different stories in very different styles. They are not alone and these devices are being used by many writers--I just happened to read two such books in a row and was ready to write a blog post.

1. Computerized typography has allowed us to mix art and fiction in ways that could not be done before. Fortunately it stays short of gimmicky. If I opened a page and a chip played Schmuann, or offered street noises of 1908 Chicago, would it be more or less of a reading experience? I think less. Art and photographs, more. Lots of books do this, but I'd say the breakthrough for me was Carol Shields' The Stone Diaries, a fictional biography of an everyperson filled with photographs. (It's currently on Elinor Lipman's rec shelf in our store, by the way--we're carrying the deluxe edition with better paper and French flaps, only a dollar more than the regular one). Here's Ansay's explanation of the images and how they wound up in the book as collages.

2. Writers want to ground their stories in history, finding inspiration from the past, yet interpret that past in a modern way, making it their own. Like a modernist building having a column that almost looks Greek, using a modern structure and present-day anchor to reflect on the past prevents the story from being too literalist. Historical novels are a grand tradition; there's no genre-knocking going on here. But with those guidelines, and knowing that writers are always thinking about the creative process (see the post on Jane Hamilton, for example), what you wind up often getting is the process of writing a historical novel, with that historical novel itself. Hence, the coincidence, which is not coincidence but trend.

You would never mistake one writer for the other. Just like there can many wonderful novels about family dysfunction (Joe Meno's The Great Perhaps and Zoe Heller's The Believers being my current favorites), there are lots of great novels of interpreting historical events through a modern lens, which then reflectws on the creative process. Everybody gets the toolkit; it's what you do with it that counts. I'm hoping some of you are interested in seeing the live demos.

July 10th, 7 PM--Aleksandar Hemon

July 18th, 2 PM--A. Manette Ansay

Oh, and if you can't come on the 18th and don't want to go our wonderful event with Nathan Rabin (blog post to come of course), Ansay's appearing at Next Chapter on Friday the 17th at 7 PM.

Thinking About Another Chicago Author I Should Have Requested Formally Leads to Our In-Store Lit Group's Selection for July

More penance. I have not been more vocal about our in-store book club selections. I know that it's going to take a year to build a decent-sized book club, but we're not going to get there if I don't promote them. On Monday, June 1st at 7 PM, we're reading Hillary Jordan's Mudbound. It's a book I've gone on about at length, and I hope it makes for a decent discussion.

But what to do about July (that would be the 6th). It seems time to start reading books freshly for the club, with an occasional reread, as, after all, I read most books in advance of publication, which is still usually hardcover. Note to editor: please fix this sentence.

So I return to my other penance, of reading Chicago authors that I should have been more aggressive about chasing down for events.

Today's obsession? Aleksandar Hemon. We hosted Hemon for several of his books at the Downer Avenue location. They seem like books I would like, but somebody else always took control and the books didn't wind up at the top of my pile.

Who am I kidding? I am a lazy schlump.

Hemon has three collections of short stories, the most recent of which is his newly published Love and Obstacles. That's the book I read, because as a bookseller, it's advance copies that we really have access to, not the older books. Most use Hemon's backstory as a jumping point, a Bosnian man leaving Sarajevo for the U.S. and finding himself in wartime exile. The stories jump off in so many different directions that it's much like reading traditional poetry (and by this I mean not free verse) in that you have a very tight structure but within this structure you can still do just about anything. Terrific and powerful and I have to read more.

Next up for me is likely his kingmaker work, The Lazarus Project, his first novel, which nominated for the National Book Award. It has the Bosnian immigrant yes, but it ties him to an Eastern European, gunned down in 1908 Chicago, during fears of a budding anarchist movement. Cathleen Schine says in her New York Times review:

"Some writers turn despair into humor as a way of making the world bearable, of discovering some glimmer of beauty or pleasure or, most important, humanity. In contrast, the gifted Bosnian writer Aleksandar Hemon has taken the formal structure of humor, the grammar of comedy, the rhythms and beats of a joke, and used them to reveal despair."

I really need to read this, and I really have to be more serious about making a solid pitch for Mr. Hemon in the future. And maybe, maybe, Penguin will have read my "how to do Milwaukee on a budget from Chicago" posting and be inspired to send Mr. Hemon here.

Hey, I have an idea. We're officially reading The Lazarus Project for our July 6th (at 7 PM) in-store lit book club.